Italian duo “OvO” have been making music as far back as 2000, delivering some of the most uncompromising and extreme music you’ll ever hear in the world of Noise Rock. Consisting of sole members Stefania Pedretti and Bruno Dorella, the band makes a lot of noise with a very minimal setup. Their new E.P. Densità is no exception. Arriving exactly one year after their eleventh studio album Gemma, Densità is an undeniable mix of electronics, sludge, and noise, it’s a signature and familiar sound from the band, but at the same time sounds like the beginning of a new chapter. The E.P. was released via “Artoffact Records” and you can hear, as well as purchase the E.P. below:
Flenser artist “Genital Shame” is set to release her second full-length album Wellness Plan on October 30th, and following her previous single “I Want to Die Before You,” she has dropped another taster of the upcoming album titled “Down Titration Strategies.” About the track, sole member Erin Dawson says, “I think all the time about how little upstream things (events, lingering thoughts) can have large downstream effects. This song plays with vaguely medical language to describe that snowballing effect, adjusting measurements of attachment, life-affirming positions, and self-destructive tendencies.” You can listen to “Down Titration Strategies,” as well as pre-order Wellness Plan below:
Albums like these are the reason why it’s important to not view music as mere entertainment. Though it is nice to use it as a form of escapism, sometimes we need something to reflect the harsh realities of life. Music to make you stop and ask “What the fuck are we doing?!” Genocide, climate change, AI, and a mundane existence living under the boot of capitalism are all topics many artists with a platform fail to acknowledge for fear of pissing off the wrong people and losing their livelihood. In a way, I can’t blame them. The threat of losing it all for simply speaking out against the norm must be terrifying, but that is the very thing that further perpetuates a system that only benefits the rich and privileged, while the less fortunate live in fear and uncertainty. At some point you gotta wake up. Though most of us aren’t going to lead a revolution, it is nice when a band like “Chat Pile” externalizes every frustration we feel.
What is Chat Pile? Are they Metal? Well, they’re definitely heavy. They definitely blend various forms of challenging music such as Sludge Metal, Pigfuck, Noise Rock, Gothic Rock, Industrial, and Nu Metal, but simply calling their music Metal, or any of the genres I just mentioned doesn’t sum up their sound. At the end of the day, they’re fucking Chat Pile. Plain and simple. Their music sounds like four dudes from Oklahoma got together and made some noise, and this noise is so damn good! It’s unhinged, it’s anxious, it’s filled with existential dread, but it grooves like early “Korn” and it’s heavily cathartic. Their new album Who Loves The Sun is their thesis statement.
Serving as both a reference to “The Velvet Underground,” and commentary on climate change, Who Loves The Sun captures the anxiety and frustration that is brought on by late-stage capitalism, social disconnect, the state of surveillance, and environmental damage, but instead of wagging his finger or indulging in corny sloganeering, lead singer Raygun Busch expresses pure frustration with a very manic, anxious, and at times terrifying delivery that can make anyone feel uneasy, and that’s the point. It’s not just a cliché to say “everything is fucked,” because everything really is fucked, and if there’s going to be music that reflects our frightening reality, it’s going to be very ugly. However, believe it or not, this music isn’t all pessimistic, because underneath the very bleak and somber nature of this album, there’s optimism to be found, and that optimism lies in catharsis, because after that release of frustration and anger, it’s nice to know you’re not the only one that feels this way, which inspires a hopeful attitude and may even prompt someone to take a positive action. After tracks that tackle themes such as workplace degradation, (PEN I S MALL), digital alienation, (Deep Blue), and character-driven Horror stories, (Intruder), (Family Funeral), the album ends on the notion that everything will be fine on the track “October All the Time.” However, does Raygun truly believe this, or is he just trying to convince himself? There’s no clear answer, just like there’s no clear answer to the question “are we going to be okay?” I guess we just have to try to keep smiling through this shit show.
LA-based trio “PUREST FORM” are set to drop their new E.P. RESISTANCE on September 4th via “Dais Records,” and following their visceral Industrial Metal banger “ANIMAL,” the band have released another new track off the upcoming E.P. titled “MORE,” and it’s a musically unhinged mix of Hard Techno, Metal, Industrial, and Synth-Punk. The band describes the single as “a song about love and revolution. A love so addicting, LIKE A DRUG. A love that makes you do extraordinary things.” You can listen to ”MORE,” as well as pre-order RESISTANCE below:
“Genital Shame” is the solo project of Erin Dawson, an artist who brings her background in classical guitar to the world of Black Metal. Rejecting the traditional tropes associated with Black Metal, Dawson brings her own introspection filled with her personal identity, trans experience, and vulnerability to the genre, which is refreshing considering most Black Metal tends to be formulaic at this point. Today Dawson has announced that she will drop her new album Wellness Plan on October 30th via “The Flenser,” and she has also shared the album’s first single “I want to Die Before You.” While making Wellness Plan, Dawson encountered old microscopic footage of white blood cells searching for viruses. “I love the idea that even if you struggle with and mask a deep self-hate, there’s something microscopic inside you voting for your continued, healthy existence, even if you feel like you don’t deserve it,” says Dawson. She also describes the album as “a process of acceptance through images of disappearing.” You can listen to “I want to Die Before you,” as well as pre-order Wellness Plan below:
It’s nice seeing barriers being broken in the current Metal community thanks to younger bands daring to blend differing genres and incorporate outside influences. Along with this forward thinking approach, comes the re-evaluation of a genre like Nu-Metal, particularly “Korn.” There was a time when liking a band like Korn was considered uncool amongst Metal elitists. Even during the bands chart-topping glory, there were those who dismissed the band and simply believed they were not “real Metal.” Now, we have a whole generation of young Metal fans who reject rigid views and gatekeeping, and it’s glorious. Korn’s influence is now celebrated and referenced sonically in the music of bands like “Chat Pile,” “Code Orange,” and Austin, Texas band “Portrayal of Guilt.” Fearlessly blending genres such as Screamo, Black Metal, Sludge Metal, Emoviolence and Noise Rock, Portrayal of Guilt have been gifting us abrasive and chaotic music rich in tumultuous blast beats, sludgy guitar riffs, heavily distorted bass, and shrieking vocals since 2017, and yet, with their distinct sound established, the band still manages to reinvent themselves with every album, which prevents their sound from slipping into monotony. On their new album …Beginning of the End, the band find themselves reinventing their sound once again, incorporating just the right amount of genres such as Nu-Metal, Trip Hop, and Industrial, to create more cinematically bleak soundscapes that echo some of the best 90’s gems like “Nine Inch Nails” or the “Spawn” soundtrack. Seriously, the track “Ecstasy” sounds like the band went back in time to 1997 to collab with “The Dust Brothers.” The track “Chamber of Misery Pt. IV” features a Trap-style verse from rapper Slim Guerilla, and “God Will Never Hear Me” is a slow but brooding track with a nightmarish ambience, which perfectly executes an unpredictable, but very “Portrayal of Guilt” experience, and that’s what makes this album work so well. The band never fully emulates a specific genre, but instead mixes various genres not often associated with the band, all while maintaining their usual harsh sound. Now, where does Korn come into play with all of this? Well, Portrayal of Guilt’s vocalist/guitarist Matt King has been very vocal about his love for Korn, and …Beginning of the End can be considered a continuation of the unique and innovative sound of those early Korn records. I mean, let’s face it, aside from a handful of good Nu-Metal bands that left a revolutionary mark on the genre, Korn unintentionally inspired A LOT of really bad imitators in the 90’s and early 2000’s, but in an alternate universe where more good than bad came from Korn’s mark, …Beginning of the End is the natural progression of what Korn pioneered. Oh why couldn’t we hear this stuff instead of “Last Resort” back in the late 90’s? Better 32 years late than never I guess. Whether it be the early Blackened Hardcore of Portrayal of Guilt’s early records, the Gothic-tinged sludge of Christfucker, or this new direction of Nu-Metal combined with Hellish Black Metal, it is certain that Portrayal of Guilt will continue to make whatever the Hell they feel like making, and the band happen to be very good at it.
Austin, Texas trio “Portrayal of Guilt” will release their new album …Beginning of the End on April 24th via “Run for Cover Records.” Today the band have shared two new tracks off their upcoming album titled “Human Terror” and “Ecstasy,” and both tracks find the band maintaining their harrowing and hellish sound all while incorporating newer elements the band aren’t exactly known for. Especially “Ecstasy.” The track sounds like 90s Korn-styled Nu-Metal with an Industrial flavor. Seriously, this track sounds like it could’ve been on the 1997 Spawn soundtrack. Both tracks are great, and you can listen to them below:
Every once in awhile an album comes along that reminds me of why I should be paying more attention to what’s going on in the underground Metal scene. The most recent album that has done this for me is the debut self-titled album from Gothic Doom Metal band “OMINESS.” Hailing from Ohlone & Pomo land, also known as Oakland and Santa Rosa, CA. OMINESS’ music is dark, foreboding, and the soundtrack to impeding doom with immaculately produced sludgy instrumentation combined with Gothic fervor. Fans of Sludge and Doom Metal will find solace in this album with its slow lethargic tempos and heavily distorted guitars while lead singer Destiny Espinoza’s vocals cut like a knife, transitioning from clean to guttural growling. However, even with the gloomy nature of this album, those who are marginalized will reach catharsis when listening to this album with its themes of feminist rage and queer liberation, and it’s all topped with bruja spirituality and aesthetic. If this all sounds like something you’d fancy, then turn off all the lights, light some candles and enjoy this Hellish ride.
Genre: Black Metal/Doom Metal/Gothic Metal/Death Doom
Label: Ván Records
Rating: 7/10
I’m just gonna start this review by admitting that I am a part time metalhead. I love me some Metal but I am picky. If the Metal starts off with kickass demonic I need an exorcism ass guttural growls and then transitions into the cleanest and prettiest vocals you’ve ever heard I’ve lost interest. If the Metal relies too heavily on shredding it just sounds like the Power Rangers theme song to me and I can’t help but think it’s morphin’ time, and some stuff (I’m not gonna name any subgenres) just gets a little monotonous after awhile. Um, if I haven’t pissed you off by now and you’re still reading this… well, if you’re a metalhead you’re probably not reading this anyway…. actually let’s be honest, no one is reading this… wait where was I? Oh yeah, allow me to introduce you to the kind of Metal that hits every note and strikes every fancy for me, THE RUINS OF FUCKING BEVERAST! “Fucking” isn’t actually in their name but you get the point. Lead by sole songwriter Alexander von Meilanwald, “The Ruins of Beverast” is a hard to categorize project with a myriad of genres such as Black Metal, Doom Metal, Gothic Metal, Death Doom, and Atmospheric Black Metal to their name, and yet none of these genres are a definitive category for the band’s sound. Whether it be the the Gothic-tinged Doom combined with shamanism of their album Exuvia, or the reverb soaked atmospheric and at times psychedelic dark and sinister journey of an album like The Thule Grimoires, it’s clear Alexander von Meilanwald has no intention to pigeonhole himself and every intention to experiment. His new album Tempelschlaf is no exception. Continuing with the epic and grandiose nature of the aforementioned albums, Tempelschlaf is a more refined album dialing back the atmospherics in favor of more precise instrumentation less focused on odd time signatures and more focused on direct heavy riffs and continuous blast beats, which I feel this was done to focus on the live aspect of these songs by stripping back the studio wizardry. This direction unfortunately makes this album the band’s least ambitious release, but it’s still a solid installment in their discography with plenty to enjoy. There’s even some shredding, and thank God it doesn’t sound like the Power Rangers theme.
More often than not, the outcome of certain collaborations don’t quite work as well as the idea on paper, but there have been numerous instances where certain collaborations just flat-out make complete sense while all parties involved feel rejuvenated as they bounce ideas off each other and gain a new sense of inspiration. Judging from the new collaborative single by Converge, Chelsea Wolfe, Stephen Brodsky, and Ben Chisholm, it’s looking like this is going to be one of those collabs that works. All aforementioned musicians got together to create a collaborative album titled Bloodmoon: I, which will drop on November 19th via “Epitaph Records,” and the lead single “Blood Moon” is a brooding seven minute plus epic that gives us a taste of the journey we’re about to embark on with this album. You can watch the music video for ”Blood Moon” below:
