Chat Pile – God’s Country; Lebrique – Head Trap (2022)

Hey! As we continue inching ever-closer to the conclusion of yet another calendar year, let’s continue talking about some of the great music that has come out in 2022.

Today I’ve got two albums to share: one that was just a recent discovery for me, that I somehow missed when it came out over the summer but which has been getting SO much attention lately as all my writing peers have started publishing their own year-end lists, and then one that just came out this month, and based on that timing I’m afraid it may have inadvertently missed catching many other people’s attention.

Here we go…

 

Chat PileGod’s Country (The Flenser, 29 July 2022)

 

LebriqueHead Trap (Trepanation Recordings, 02 December 2022)

 

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Now Available for Pre-Order: Coffinworm – Great Bringer of Night (Vinyl Reissue Shipping Soon!)

Good afternoon! How are you on this lovely Wednesday? Personally, I’m pretty sure I’m about to choke somebody. I don’t know who yet, but it’ll be the next person who says something about how gorgeous the weather is outside. It isn’t raining, and it’s actually been pretty sunny for most of the day, and if you’ve never been to Pittsburgh then you probably don’t realize how rare that is — especially in the springtime. In general, though, we have one of the lowest average numbers of sunny days in the whole United States. Even fewer than Seattle — although we don’t get as much rain, if you factor in cloudy or partly cloudy days and overcast days, we average fewer sunny days per year. True story; you can Google it if you don’t believe me.

So anyway, on the rare occasions that the sun is actually shining and there’s no precipitation around, all these idiots walk around prattling on about what a beautiful day it is, until you feel like you’re going to vomit. Being shut inside a windowless office all day is kind of a double-edged sword, too. On one hand, you don’t have to be subjected to the stupid sun, but on the other hand, all the people around you feel some sense of obligation to give you the goddamn weather report at least once an hour.

Unfortunately, I don’t have an office door. I think there’s an official policy somewhere that dictates who exactly can qualify for an office with a door, and I’m definitely not there yet. In fact, the people one or two levels above me on the organization chart also don’t have doors, and I have no idea how much time and hard work it will take to rise three whole levels on that chart. I suspect it doesn’t involve spending half of one’s day writing a metal blog, though. So for now, I have to make do with the invisible, virtual door provided by loud music through a pair of headphones. It makes the days pass by more quickly, and sends a clear signal that I don’t want to be disturbed by any passers-by.

On a day like today, though, it takes a little bit extra to be able to block out the outside world — some music that’s especially miserable and filthy and nasty. If you’ve been paying attention to Facebook today, you might have noticed that I spent part of the day with Vulture. That helped for a while, and then since I was already in a dirty, sludgey, agonizing kind of mood, I’ve moved on to Coffinworm.

Although it might feel like this band has been around forever, based on the amount of underground cred they seem to have accumulated, they’ve really only been around for a couple of years — their debut full-length When All Became None was just released by Profound Lore about two years ago, while the three-track demo Great Bringer of Night had been self-released about one year earlier. While that demo had been made available for an extremely limited run of physical copies, those have been pretty hard to come by for a long time now.

Well, all that’s about to change, because The Flenser has been kind enough to repackage the songs, along with the demo versions of two additional tracks from around the same time, got all five remastered by James Plotkin, and stuck them on some vinyl inside the warm and inviting cover whose artwork (by Bryan Proteau) you can see at the top of this page.

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Just Released: Obolus – Lament

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ObolusLament (The Flenser Records, 10 April 2012)

In the “Inferno” section of his Divine Comedy, the poet Dante describes his descent through the various circles of Hell, including the particular sins which had landed the condemned souls in each of these, and what tragic fate had been assigned to them.  A large part of the allegorical nature of this tale revolves around the narrator’s interaction with some of these damned creatures; while often serving as political commentary on what he perceived as misdeeds in his own time, Dante’s poem also speaks on the evils of human nature in a far more universal sense.

Of the nine circles through which the author must pass, the seventh is the final resting place for those deemed guilty of sins of violence.  This circle is further subdivided into three narrower rings.  The section “Canto XIII” discusses what he sees in the second of these three rings, which is classified as sins of violence against oneself:
 

“… we had put ourselves within a wood,
That was not marked by any path whatever.
Not foliage green, but of a dusky colour,
Not branches smooth, but gnarled and intertangled,
Not apple-trees were there, but thorns with poison.”

“There do the hideous Harpies make their nests…
They make laments upon the wondrous trees.”

“I heard on all sides lamentations uttered,
And person none beheld I who might make them,
Whence, utterly bewildered, I stood still.”

 
Soon, at the urging of his netherworldly guide Virgil, our hero discovers that the voices he hears are issuing from the disfigured trees themselves, in which form are trapped the souls of those who had ended their lives by their own hands.

By breaking off a piece of one of their limbs, he finds he is able to address the tortured soul within, and have it respond to his inquiries:
 

“As out of a green brand, that is on fire
At one of the ends, and from the other drips
And hisses with the wind that is escaping;
So from that splinter issued forth together
Both words and blood…”

 
If the lamentations he heard from this poor, wretched being could be captured on tape, I’m sure the result would be extremely similar to the just-released Lament by the San Franciscan atmospheric black metal band Obolus.
 

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