I am the Trireme – Gnosis: Never Follow the Light (Horror Pain Gore Death Productions, 30 June 2015)
Hello out there — and a happy Saturday to you! Hopefully you’re all in the midst of celebrating a nice long weekend (at least for those of us in the U.S.) in classic unofficial-end-of-summer style, with plenty of food cooked over charcoal, and definitely plenty of bottles of fermented beverages. Not to mention lots of good music. Seems like a perfect time to get out there and catch a show, whether it’s at an outdoor festival or somebody’s basement, or whatever.
If you happen to live somewhere near Pittsburgh, might I suggest this one: locals United By Hate are playing at the Rock Room in the Polish Hill neighborhood, and kicking off a bit of a tour; that trip will take the band through Philadelphia on Tuesday night, where they’ll be performing with that city’s I am the Trireme, who are returning the favor by making the trip out here to play at tonight’s Pittsburgh show! Sorry if that sounded a bit confusing, but to make a long story short, if you live in western Pennsylvania you’ll get to see both bands tonight, while our cross-state neighbors will have that chance on Tuesday the 6th.
I just happened upon this information randomly on Facebook, and it reminded me that I had been meaning to write something about IATT‘s album Gnosis: Never Follow the Light ever since I first heard it when the City of Brotherly Love based label Horror Pain Gore Death released it last summer. Mostly based in blackened and death metal, the album impressed me with its range and variety, and I think you’ll agree if you check it out …
Thursday 15 September through Sunday 18 September 2016
at Camp Hidden Valley, 4722 Mellow Rd, White Hall MD 21161
Weekend pass (includes on-site tent camping) $130 in advance or $150 at gate; limited cabin bunks available for an additional charge; single-day tickets also available.
In exactly two weeks, the weekend-long sylvan music and camping party Shadow Woods Metal Fest will kick off for the second year. Described by its organizers as “some of the best music the underground music community has to offer, all while camping in beautiful surroundings. The festival features bands spanning the musical spectrum from folk to doom to black metal to experimental and are carefully curated for their uniqueness in the current musical landscape.”
Year of the Goat – The Key and the Gate (Napalm Records, 28 November 2014)
Year of the Goat – The Unspeakable (Napalm Records, 31 July 2015)
The year of the goat has ended: this past February, the year of the monkey was ushered in. But the previous twelve lunar months had been dominated by this horned beast — the third such year since the one in which I was born — and around this time period, Sweden’s Year of the Goat had been fairly active. Exactly twelve weeks before the commencement of the (Chinese) new year, their second EP The Key and the Gate saw the light of day via Napalm Records, who then went on to release Year of the Goat‘s second full-length album The Unspeakable once the year of the goat was actually in full-swing — in fact, right in the middle of the month of the goat.
And I’ll stop there, because that pretty much exhausts the extent of my research into Chinese astrology in preparation for writing about this band from Norrköping and their latest two releases — the latter and longer of which found its way onto my list of the best of 2015 …
at The Smiling Moose, 1306 E. Carson St., Pittsburgh (South Side) PA 15203
21+ only | 10:00 | $10
Tickets are on sale NOW at this link… OR you can WIN a pair of tickets FREE, courtesy of Steel Bridge Promotions and Valley of Steel! Keep on reading to learn more about the show and to enter for your chance to win … Continue reading →
Goatcraft – All for Naught (Forbidden Records, 20 March 2013)
Goatcraft – Yersinia Pestis (I, Voidhanger Records, 15 July 2016)
The past few days, we’ve talked about a few different musical groups; while a few of them might be tangentially associated with some form of metal bands, generally these have all been of the non-metal variety, using traditional folk, classical, orchestral, baroque, or chamber ensemble instrumentations, and playing compositions that would be classified as neoclassical or neofolk. Today we close out the week by taking a look at a solo musician from San Antonio, who goes by the same Lonegoat, as the sole member of Goatcraft, whose piano-and-keyboard-only creations have prompted him to coin the term “necroclassical.”
Disemballerina – Undertaker (Graceless Recordings, 28 June 2014)
Disemballerina – Poison Gown (Minotauro Records, 10 July 2016)
Moving right along with our theme of not-exactly-metal music, today we’re going to cover a pair of albums by Portlandian trio Disemballerina. This ensemble first came to my attention about two years ago when harp/viola player Myles Donovan had contacted me about their album Undertaker, which had been mixed and mastered by Tad Doyle and released via the Loss-owned Graceless Records. It was described as “something like doomed chamber music,” and had cover art that was taken from a series of images where the harpist had placed found bird carcasses (in this case, a blue heron) into the photocopier at Kinko’s. With a pedigree like that, of course I was instantly intrigued.
Disemballerina, it turns out, had been formed back in 2009 by Donovan and guitarist Ayla Holland. The two have worked with a number of other musicians over the years, but their line-up is currently set with the inclusion of cellist Jennifer Christensen. Last month, the “doomed chamber” group had another album emerge — Poison Gown — through Italian label Minotauro Records, and so today we’ll tackle both of those records.