Tag Archives: Oregon

High Fighter – The Goat Ritual (2014), Scars & Crosses (2016); Zirakzigil – World Builder (2016)

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EP Cover Artwork + by Dominic Sohor Design

High Fighter – The Goat Ritual (self-released, 28 October 2014)

 

High Fighter 'Scars & Crosses' Album Front Cover_ By Dominic Sohor

High Fighter – Scars & Crosses (Svart Records, 10 June 2016)

 

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Zirakzigil – World Builder (Prosthetic Records, 10 June 2016)

 

Hey folks, how are you? Thanks for stopping by. Are you ready for another dose of good stuff to listen to? I hope so, because once again I’ve got some here to share with you today.

Both of the bands we’ll be discussing today will have an album released on Friday: High Fighter from Hamburg, Germany, will see their first full-length put out by Svart Records, which we’ll talk about in addition to that band’s debut EP that was self-released a while back; Zirakzigil from Portland, Oregon, also have their first LP forthcoming, one which was originally released by the band last year but is now being repackaged (and etched onto vinyl for the first time) by Prosthetic Records.

 

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Graves at Sea / Sourvein – Split EP (2014), Sourvein – Aquatic Occult (2016)

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Graves at Sea / Sourvein – Split EP (Seventh Rule Recordings, 13 May 2014)

 

Sourvein - Aquatic Occult

Sourvein – Aquatic Occult (Metal Blade, 08 April 2016)

 

Hello and good afternoon, longtime friends and first-time visitors. I hope your Monday has been, at minimum, tolerable. From this side, “Today I didn’t even have to strangle anyone with their own phone cord or throw my computer through the cubicle wall out of frustration / I got to say it was a good day.”

Anyway, whatever kind of day you’re having, get ready for some positive, uplifting vibes to be coming your way from the music I have here to share with you. Now, that music is going to start with Graves at Sea, and for those who’ve heard the full-length they put out earlier this month (reviewed here), you’ll be able to tell right away that last statement was at least partly sarcastic. (For those who haven’t heard it, what the hell are you waiting for? Go read that review, or even better, check them out in person during their tour that starts tonight in Atlanta!)

The remainder of this article will be about material — some of it a couple years old, some from just a few days ago — by the southern sludgery cesspit Sourvein; although it may not seem that way, this is (supposedly) where the positivity comes into the equation. Or at least truthfulness and realism. Off we go …

 

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Graves at Sea – The Curse That Is (2016)

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The Curse That Is

Graves at Sea – The Curse That Is (Relapse Records, 01 April 2016)

 

After forming nearly fifteen years ago, taking some time off and then reforming with a number of line-up changes over the years, and recording a spattering of demos and EPs and singles and splits during all that time, TOMORROW (Friday, April 1st) the crushing doom entity that is Graves at Sea will finally drop its debut full-length record on an unsuspecting world. A preview copy of The Curse That Is showed up in my email inbox earlier this month, while I was away on vacation. I was pretty excited to check it out, so as soon as I found myself with a spare 75+ minutes to sit and listen to it, I made sure to seize the opportunity. Which happened to be on the plane ride back home. Honestly, the irony inherent in that situation — listening to a band called that while watching the flight attendants demonstrate the use of flotation devices and various other safety features — didn’t dawn on me at all until sometime later.

Anyway, like I said, the album comes out tomorrow, so I’d like to tell you a little more about it. And then, about a week and a half from now, the band will be heading across the country to take a trip up the east coast — their first time doing so in quite a few years — with Atlanta’s Order of the Owl (who, you may recall, put on a hell of a show themselves, as I had discussed here a couple of years ago). So once you reach the end of this article, keep on scrolling to the comments section, where I’ll include a list of dates and cities these two groups will be visiting.

 

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Slaves BC / Grace & Thieves – Cursed Breath / Innocent Blood (2014)

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Cursed Breath X Innocent Blood 1400 X 1400

Slaves BC / Grace & Thieves – Cursed Breath / Innocent Blood (Veritas Vinyl, 04 August 2014)

 

The split record is an interesting concept in the music industry. The vinyl EP or LP or cassette with (usually) one band on each side, or the more modern CD or digital release with tracks contributed by two (or occasionally more) bands — these frequently fall into a couple different categories. Sometimes bands will be such kindred spirits, sharing all the same influences and each representing a similar approach to their particular genre, that it seems completely natural for them to work together; in these cases the bands probably already have a huge overlap in their fan bases, but the split will surely be a treat for those people who already like both bands. On the other hand, many joint releases are the result of bands who are close friends — perhaps they live in the same city and play shows together all the time — but who actually have little else in common; the result here is that die-hard “completist” fans of either band will end up buying the record, but probably few of them will listen to the flip side more than once (if at all).

In most other cases, two bands are brought together by songs third party: perhaps they share management or PR representation, or belong to the same record label’s roster. These could be marketed to fans of each band or just people who may have been familiar with some of the other output from that label (or whatever); it becomes an efficient way for listeners to “test drive” bands, without having to take a chance investing in a full length from someone unfamiliar. Ideally, the person putting together the release will have done some homework (or just have good instincts) and pair up artists who are different enough to attract a wide range of listeners, yet share enough of a common bond for both sides to appeal (at least to some degree) to that whole audience.

And if you ask me (and technically, by clicking on this review and reading these words I wrote, you did ask me — at least implicitly), the Veritas Vinyl label has accomplished this successfully with their Cursed Breath / Innocent Blood 12″ which officially comes out today. This split brings together bands that employ two rather disparate styles of metal (one leaning in a blackened direction, the other sticking with a more old-school doom and traditional heavy metal sound), but they each combine their respective patois with a foundation heavily influenced by hardcore/noise and/or hardcore punk.

 

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Agalloch – The Serpent & the Sphere (2014)

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Agalloch – The Serpent & the Sphere (Profound Lore Records, 13 May 2014)

 

So tomorrow is the day when we’ll be making the trek west to Ohio, because Agalloch‘s tour will be hitting Cleveland. (Read all the details of that tour right here. I’ve been pretty excited about this for a while — I may only have discovered the band within the past few years, but quickly I found their style of vast, atmosphere-infused black/folk metal to be right up my alley. I enjoyed all the songs I’d heard (on Pandora or wherever) from their earlier albums like The Mantle and Ashes Against the Grain, so I thought I had a general idea of what this band was about, and I thought I knew basically what to expect from the upcoming show.

But no, honestly I don’t think anything could have prepared me for what happened when — partly out of curiosity, partly to get familiar with some of their newer stuff — I headed over to the Agalloch Bandcamp page and hit PLAY on their recently-released album The Serpent & the Sphere. I found myself instantly blown away by what I was hearing, a reaction that continued throughout the next fifty-nine minutes or so, through the conclusion of all nine tracks. I decided right then, even though this year isn’t even halfway over yet, that I find it unlikely I’ll hear anything better than this in 2014.

I hadn’t even really planned on writing this, but this was just one of those rare occasions where something caught my attention and spoke to me so much, I felt like I had to make sure other people knew about this record too.

 

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Tours Galore: Agalloch Hitting the Road Throughout North America

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The Agalloch “Serpens in Cvlmination” Tour Begins its Trek Across North America

 

Last month, Portlandian atmospheric black/doom/folk band Agalloch released The Serpent & the Sphere, their fifth full-length over the past fifteen years (and the second on Profound Lore). In support of this new album, the band is heading out all across North America — starting tomorrow night (Wednesday, 18 June 2014) and running for about three weeks. On various dates of the tour, they will be joined by Obsidian Tongue, Vex, Jex Thoth, Thrones, and — for one lucky city — Musk Ox, the folk trio led by guitarist Nathanaël Larochette, who wrote and performed several interludes on The Serpent & the Sphere.

Personally, I’ll be making the trip out to Cleveland for the show this coming Saturday, and really excited since it’ll be my first time seeing Agalloch. See below for the full list of dates…

 

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In Case You Missed It: Greed & Rapacity – Loki Bound

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Greed & Rapacity – Loki Bound (9 April 2012, Milam Records)

 
Good afternoon, Readers! Time for another album review. It’s been a while since I’ve written one of these things; I hope I remember how…

 
With its roots in Australian soil, but being a collaborative effort between members (who are also involved with various other projects, including Azoth, Bleakwood, and Ironwood) living in both Sydney (NSW, AU) and Portland (OR, US) Greed & Rapacity have the goal of “channeling and venting the worst of human nature in sonic form” — not surprising, considering they have deadly sins as namesakes.

Following a demo in 2010, this spring the band’s debut EP Loki Bound was released on cassette by Milam Records (although it’s also available as a digital download, so don’t worry if you never bothered to get a new tape player after the batteries leaked and corroded your Walkman’s innards fifteen or twenty years ago).

The album was named for the god of chaos in Norse mythology, who was bound by the other deities for his mischievous crimes, and had a serpent suspended above him, from which venom would occasionally drip onto the captive, causing him to writhe in pain and agony.

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Contest Alert: Win a Stonecreep Prize Pack

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Hey there, readers. Real quick, I wanted to bring this to your attention: in a joint effort between Blistering.com and Clawhammer PR, for the next few days you can have the opportunity to win a prize package from Portlandian death-thrashers Stonecreep!

This giveaway will include a digipack of the 2011 re-release (via Old-School Metal Records) of their 2009 album The Deathmarch Crushes On, a CD copy of the 2007 demo EP We Bleed Disaster, a t-shirt, sticker, and beer koozie. All you need to do is click right here, and fill in the relevant personal information. Be sure to submit your entry soon, because the contest will close on Friday (1 June)!

Oh, and while we’re on the subject, the band will soon be heading out across the U.S. in support of the Deathmarch album’s recent re-release, on what they’re calling the Storm of the Deathmarch U.S. Tour 2012. So far there have been sixteen confirmed dates over the course of three weeks between June and July (including a stop in Pittsburgh). See below for the full details…

 

Update 12 June: the contest may have ended but the Deathmarch tour is still, umm, deathmarching soon! I’ve learned of a few adjustments to the tour schedule, which has been updated accordingly, below, along with an explanatory statement from the band…

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