Syven - "Aikaintaite" (2011) [Vendlus Records]

The days have inevitably grown shorter, the sun lazily rising much later in the day, only to retreat before the early evening. The Earth is shedding its vivacious fauna, only to cocoon itself in white, only to emerge anew the next season. The annual cycle is waning, and soon this year will pass on, making way for a new cycle and new life. The inevitability of the coming winter and the death of the old year is a powerful symbol for our constant fight against the threat of death. As we grow, our wills might grow stronger, but our bodies weaken with every new day and, while we might not consciously know it, we wage war against finality with every new second. We don't think about it, but we survive. Aikaintaite, the debut album of Finnish duo Syven, is a celebration of that survival.

The beautiful stylistic marriage of multi-instrumentalist A. Tolonen, formerly of Nest, and vocalist A. K.-S., who has an extensive resume related to the British "extreme doom metal" scene, has proven to be one of the most formidable seen in folk-related music yet. Now, I say "folk-related" because Syven has undoubtedly transcended the realms of folk and neofolk, presenting something much more introspective and primal, not to mention wholly unique. Tolonen's mystical, naturally resonant kantele, a traditional Finnish lap harp, acts as the instrumental centerpiece, utilized both as an atmospheric base as well as a medium for aggression (check out the distorted, almost metallic closing climax of "Tuulenvire" (Gust of Wind) to see what I mean). Thanks to Tolonen's work under the Nest moniker, the kantele has proven itself to be one of my favorite instruments, and his further experiments with the beautiful instrument with Syven only strengthens my obsession.

A. K.-S.'s magnificent voice is what truly places Aikaintaite on its own pedestal. Alternating between a strong classical voice, deep whispers, chanting, and animal sounds, K.-S.'s deep study and outstanding emulation of both modern and ancient styles of singing further Syven's more "genuine" sound. It is this deep, sorrow-filled voice that hearkens back to the glory days of Ulver and Empyrium, when masculinity and being in touch with one's spirituality were one and the same, something which many artists have seemingly forgotten nowadays.

A celebration of Finland's natural and spiritual heritage and its perseverance for thousands of years, Syven's Aikaintaite is a marvelous adventure through the snow-covered pine forests of the taiga. As picturesque and vivid as it is haunting and desolate, the seemingly perfect artistic union between A.T. and A. K.-S. has taken the worlds of folk and ritual-based ambient music to new, personal heights which will be exceedingly difficult to meet, let alone approach. Aiktaintaite will be available from the recently resurrected Vendlus Records on December 6th.

-Jon

WRNLRD - "Unknown Tongue" (2011) [FlincoSoundSystem]

The enigmatic, bizarre WRNLRD has caused many a craned neck with their extensive back-catalog of angular, grating, highly experimental black metal, but nothing compares to this. Honestly, I thought that this Virginia duo (They're now a trio? You can never be sure anymore) couldn't get any stranger than the peculiar moments of atonal, mathematical black metal-meets-MIDI-saxophone found strewn throughout their fantastic (and FSS released) Death Drive EP, and yet, Unknown Tongue seems to top any of the most innovative, headache-inducingly bizarre music they have churned out in the past.

Why?

Well...this time around, WRNLRD has completely abandoned black metal for two surprisingly beautiful, calming, Christmas-oriented (though slightly inverted...check the upside down cross on the cover) songs, even going as far as to offer their own rendition of the classic German hymn Stille Nacht (Silent Night) and the more modern (as in it's by Blue Oyster Cult) Unknown Tongue. Beautifully arranged, yet almost randomly placed accordion pillows the listener, acting as a backdrop to the beautiful solo female voice (Buccinator?). One wouldn't expect beautiful Christmas songs from such a violent, caustic entity, but their sentiments towards the supposed Messiah are not lost within the music. With every mention of "Jesus" or "Christ" comes a sour note from the accordion, beckoning a short, deliberate section of disparate polytonality before returning to the uneasy beauty found within this short offering, lasting under ten minutes total.

Surprise?

Available as a free download from FlingcoSoundSystem starting December 1st.

-Jon

Wold - "Freermasonry" (2011) [Profound Lore]

Looking back, I feel rather stupid that I left Wold out of my little introduction to "Black Noise," which I published a little over a year ago. From their inception almost twelve years ago, this mysterious Canadian duo has acted as one of the most glorious, memorable additions to the "black metal meets harsh noise" phenomenon that has oddly taken the underground by storm. However, I sort of see Wold has gone downhill from their 2008 effort, the extraordinarily harsh, but subtly melodic Stratification, gradually losing their edge with each new album, but such is the way of every band, it would seem. Ever progressing into more noise-oriented territory, seemingly abandoning more and more of their black metal sound with every new release, Wold is, sadly, losing their edge. Don't get me wrong, I don't mind listening to the predominantly noise-oriented Working Together For Our Privacy every once in a while, but Wold's new album, Freermasonry, is almost an unforgivable sin.

Okay, maybe it isn't "unforgivable," but Freermasonry has proven itself to be Wold's least interesting, most poorly performed offering yet. After reading that this specific album would be "entrancing" and filled with "vocal incantations," I was sort of hoping that Freermasonry marked a step back in the syrupy, keyboard-drenched direction heralded by the Badb demo and debut full-length L.O.T.M.P., but I my expectations couldn't have been more incorrect. Gone are the screeching, blown out walls of guitar and harsh, grating vocals, giving way  to uninteresting, muddy, quiet rustling noise, not unlike the popping sounds of a bag of Orville Redenbacher in the microwave, and groaning, un-intimidating "screaming." The liner notes divulge that some songs even have extra guitar tracks, and yet I cannot distinguish any extra changes in texture. In fact, the entire album just sounds like it was recorded with a microphone buried under a pile of pillows and blankets. It almost seems that Wold isn't really even trying anymore. I mean, at least with previous albums there was a semblance of melodic motion, even if the guitar tracks were lost in a sea of post-recording distortion and extra heavy electronics, but Freermasonry lacks any of the subdued "musical" elements seen before. There is nothing on which I can grasp. At all. When I listen to Wold, I expect some shadow of black metal in the slightest, but this new album shows Wold turning into a noise band, and one without any intriguing textures at that. For shame, Wold... For shame.

Wold's Freermasonry has proven itself to be one of the biggest disappointments of 2011 (mind you, I wasn't expecting much from Ilud Divinum Satanas), not because of how unlistenable it is, but because it doesn't sound like Wold anymore. If I were you, I'd spend money on a copy of...any other album they've released. You might be interested in buying it if you enjoy punishing your ears, or if you're in need of making other music sound better. If you need me, I'll be wearing best frown while listening to L.O.T.M.P. on repeat.

-Jon

The Judas Horse - "Holy War" (2011) [Inherent Records]

It's rather hard to pinpoint just what The Judas Horse is. At their heart they are undoubtedly a folk band, paying homage to the greats like Neil Young and the Carter Family, but there is much more going on under the surface. I've seen the word "slowcore" thrown around, and I can definitely liken the wonderful male/female vocal harmonies and the overall emotionally reserved, laid back style to the quiet sounds of bands like Red House Painters, and yet the driving, thick basslines are reminiscent of danceable post-punk that took the music scene by storm in the '80s.

Holy War shows the trio of Meghan Mulhearn (also of USX), Linn Rogers, and David Lynch (who has the greatest name ever, also of Enoch) exploring their various ranges of influence in a hypnotic, fluid sort of way that is highly indicative of the innovative Appalachian scene. Though the pulsating guitar and bass rhythm section has a wonderful, lulling sort of quality, I really feel that this short EP is centered around Meghan Mulhearn's wondrous, melancholic violin, which resides somewhere between sleepy bluegrass and "pioneer folk." If you're looking for an extremely relaxing, introspective, spacey album, Holy War is definitely for you.

What really struck me, aside from the music, was The Judas Horse's unconventional physical release of the EP. You won't find a CD, tape, or record here, rather a gorgeous, professionally done art print with a bandcamp download because, let's face it, people only want the physical part of a release to display while they listen to album rips on their computer. I hear an LP release is on the horizon, though, and you know I'll be all over that like stink on a mule.

Stream the Holy War EP here.

-Jon

Horseback/Pyramids - "A Throne Without A King" Split + Collaboration (2011) [Hydra Head Records]

So here it is. Don't lie, you've been impatiently waiting for this all year, too. The (what can only be described as) epic marriage between two of the world's finest experimental entities, namely Chapel Hill, North Carolina's blackened psychedelic monster Horseback and obscure Texas acid post-rock entity Pyramids. After what was initially supposed to be just a 2x7" split + collaboration, ISIS/House of Low Culture mastermind Aaron Turner and his wife, Mamiffer's Faith Coloccia, added just enough "awesome" (and enough time to make it an LP + 7") to make A Throne Without A King one of the most intriguing releases of 2011.

Did I drop enough names to get your attention?

Part I: Horseback/Pyramids Split 7"

Opening with a split between the two artists, a canary yellow 7" displays both Horseback and Pyramids's most experimental, bizarre sides yet. A-side monster "Thee Cult of Henry Flynt," named for one of the most pessimistic philosophers to grace this Earth, grips the listener in a vice of screeching, frozen black metal, only to drop him into a vast tundra of, you guessed it, ice and fog. Though "Thee Cult"'s introduction might elicit comparisons to bands like Krallice, mainman Jenks Miller's immense creativity still sets aside yet again, making sure to crane necks with each new development. After an initial explosion of caustic, free-drums, Pyramids's "Phaedra's Love" descends into a beautiful-yet-offsetting world of bowed glass and chimes, ebbing and flowing between curious dissonance and ethereal, harmonic grace. Glorious, hidden voices and mysterious piano dance about the crystal landscape, only to be disrupted by charging, industrial drums. It is beautiful. It is destructive. Neither Pyramids nor Horseback can disappoint.

Part II: A Throne Without A King Collaboration LP
Approaching collaborations is a difficult task, especially if you've grown fond of both contributing entities. There are so many things that you would want these artists to do, but you can't really...expect anything. Maybe those artists had something else in mind. Collaborations are there to break the mold and help artists grow from one another's influence, after all. A Throne Without A King is one of those collaborations. You won't hear Horseback's groovy, blackened space rock or Pyramids's jilted, black-metal-by-way-of-post-rock romance, but that doesn't necessarily mean it's bad. Together we see these artists coming together to create something that might be more in tune with the works of, say, post-industrial wizard Steven Stapleton or drone monolith Gas. Backed with punctuated, treated recordings of kitchenware percussion and heralded by ominous voice cuts, A Throne Without A King is definitely more of a noise or drone album which, as weird is it is to say, didn't really do much for me on the first listen...BUT, with each new listen, more wondrous subtleties emerged from the unfamiliar, glassy landscape. It's those subtleties on which this collaboration is built, and it's those subtleties that make this collaboration something to behold. The quiet, intonated feedback that hides just behind walls of calming noise, or the deep, almost inaudible, welling, omnipresent bass. Some people might say that progressive rock is the thinking man's music, but this...this really makes me think.

-Jon

Abnormal Thought Patterns – Abnormal Thought Patterns EP [CynNormal Lab Recordings] (2011)

This new up coming project was just brought up to me just yesterday I heard the teaser for this album only yesterday and I my jaw dropped to the floor ! This is the work of Troy and Jasun Tipton brothers and Mike Guy of Zero Hour. This EP is a crazy 20 minute face melting technical shred-a-thon and by far the best work out of all 3 members of the band. The EP fuses Shred, some elements of extreme metal, Instrumental music, unheard of time signatures, and colorful melodies. My first thoughts upon hearing this EP was this was like if Bottled Science and Rusty Cooley snorted a line of coke and Dream Theater being the line of coke and then Bottled Science and Rusty Cooley picked up their instruments and started playing. The bass solos on this EP are fantastic nothing but sweep picking and crazy tapping patterns the first track The Machine Within is a good example of this. The epic four part song Velocity and Acceleration is a great show case for the members to show off their talents and upon listening to each part you can get a feel each songs ways of expressing the ways of technical playing and melodic phrasing working hand and hand. Ulnar Nerve Damage is 51 seconds of bass shred and listening to it for the first time Less Claypool came to mind. The final track Electric Sun is my favorite track on this album the drummer is riding on the cymbal while he plays a slightly off tempo quarter note hit on the high hat, and while the rhythm guitars beat along with the bass drum, the solo is on this album plays mostly through out the song it is a very simple lick hearing it Steve Vai came to mind, and also through out the track while each part is played this is a light atmosphere synth pad that acts as a filler. The production of the Ep is what one might come to find in a just about every Progressive Metal band as far as mixing and mastering go. The EP was mixed by Dino Alden who also plays in Zero Hour and works with Marty Friedman and mastered by Alan Douches who has worked with Between The Buried And Me, and The Dillinger Escape Plan. These project will not disappoint ANY fellow guitar player, drummer, or bass player or really I would think any one who listens to this because these guys have so much talent and they know how to use it. These guys really do deserve some mainstream success. If you are interested here the teaser for this EP give it a listen ! -Bjørn

Faded - Subconscious Infiltration (2011) [Failed Recordings]

Faded's second release (after a split with Gravebound) is quality. I'd love to hear this (hardcore) band open for Samothrace. They're together and focused and they know how to write with nuance, dynamic, and movement. Despite in all probability not knowing Samothrace exists (if their thrash sensibilities aren't lying), they've managed to walk the same line between rock-tonality and tertiary harmony, with the same atmospheric finesse. And they've done so while retaining a dedication to the fast-heavy of hardcore and thrash and a strong touch of Slayer's structures in the slower, more atmospheric sections of the tape.

The production is nigh-perfectly done and suits the band extremely well. It's warm and heavy and perfectly displays a range of complimentary sounds and dynamics, enough that I have no doubt Faded can reliably perform this way live. It's too organic to have come as the result of studio experimentation.

This is a great release and I'm looking forward to further developments. Hoping to hear some crushing heaviness carry over their slow work and a greater portion of the fast destruction they do so well. Check out Failed Recordings and Inherent Records to get yourself a copy; this is tape 51/100. Stream at fadedhc.bandcamp.com.

-V.

Leprous – Bilateral (2011) [InsideOut Music]

Avant-Garde Metal at its best, I must say! I got hooked on these guys about a year ago searching on progarchives and these guys are for sure extremely original with each album they have put out.

Bilateral is hands down their best album to date even though it is only their third release, these guys are very much unbelievable Progressive music lovers and the first thing you will hear stick out with this album is the crazy fucking amount of Frank-Zappa influence, and the epic progressive traits in the Avant-Guard style you know and love ! The opening track Bilateral, once you have listened to that track you can get a little sample of that the whole album is like in some what of a nutshell. There is also some light hearted indie rock and some post rock influences on the album as well which at times remind me of Modes Mouse right before they get into the more hard rock/metal moments when they come about. Also if you have not ever listen to this band you will soon hear the very same vocal tone of Johnathan Davis of Korn in the singers voice and also at times I.C. Vortex for instance when you listen to the first track in the first opening 8 seconds you will know what I mean or if you just listen to the album or any of their past efforts. There is some 7 string guitar parts in there but they are not the death metal temelo picking blazing around on that 7 string riffs NO the riffs they use on the 7 strings do play around on the 7^th string but they more used in the way of like something you might hear in a hard rock band except on Waste of Air they do get pretty progressive death metal like.

The overall atmosphere and feel of the album is pretty progressive but yet very kind of artsy when I listened to this band and this record alone I always kind of pictured listening to it in a caffe shop at times at least for a lot of the keyboard atmosphere parts and the post rock parts. Also I would like to point out that the key board parts remind me a lot of the late Opeth style and the other all feel of the playing of them in some of those softer songs kind of like taking acid and listening to a Pink Floyd album. Come to think of it on Bilateral this is a pretty balanced album though there is more slower parts on this album unlike the previous two records which were pretty heavy. Ihsahn did some guest vocals on this album as well and produced the album the other you get into this album you will be able to tell that this does sound like a Ihsahn produced album with production quality and other things. I would like to point out that the members of Leprous are Ihsahns fill in band for when he plays live with his solo project and upon listening there is no doubt he made a good choice in picking these guys because the musicianship very tight the flow of the band is very organic but still have has some technical characteristics there playing.

I think with this album they can reach out to people who are fans of non metal music. I do think this is their best record to date and I can´t stop listening to it ! It is pretty impressive stuff these guys are really original and their music should have no problem winning you over.

-Bjørn

Year Of The Goat - 'Lucem Ferre Of Darkness' (2011) [Ván Records]

I am so confused by this... yet, I absolutely LOVE this.

 Ván Records always been one of my favorite record labels. They've released countless masterpieces throughout the years (The Ruins of Beverast, Kermania, Graupel come to mind immediately). Known mostly as being a black metal and doom metal label, they've proven themselves to know what quality is.

Year of the Goat is a band I am unfamiliar with thus far. It sounds completely different from anything I had yet to expect from Ván Records. However, despite my immediate confusion that something like this would come from this label, I am very pleasantly surprised. This music is incredible, and is giving the perspective that Van Records not only knows quality music in certain subgenres of music only, but in others as well.

The music can be best described as modern rock and roll with a somewhat bluesy/backwoods twist, picking up where the 70s occult rock boom left off. With a somber and melancholic atmosphere, yet variations in pace and beat, we are treated with a very full album. It is an up-front and bold album, melodic and moody in nature, but thankfully not weepy or boring. Excellently-placed guitar solos, strange effects and backup chorus vocals all fill what could otherwise be gaps in the sound, and the end result is a very full-sounding band.

One thing that fascinates me about music like this is how unsettling it can be in the most subtle ways. Black metal, for instance, can be as Satanic as possible and evil sounding as possible, yet that essence in and of itself will make it unsurprising. You expect it from twisted music like such.

However, with music like this, the melodic nature and clear vocals just make the lyrical content that much more sinister. If someone's screaming and it sounds dark, of course you would expect it to sound dark.

With this music, it's almost like your mother and father are matter-of-factly telling you that you were actually born in a witch coven.

Highly recommended for those who want something familiar, yet different.

-Elan

Neige et Noirceur - 'Hymnes de la Montagne Noire' (2011) [Sepulchral Productions]

Best album cover of 2011?

...I sincerely feel bad for any black metal listener who has not yet listened to Neige et Noirceur.

The project's brand of oddities, perfectly-fitting synth passages, and always-appropriate production styles blend together to make for a texture of music that can be called upon on any occasion. This album is no exception.

With probably the most interesting vocals I have heard since the last Blackdeath album, as well as unpredictable guitar work that will make you want to put the album on repeat, this album is taking the project into a forward-charging territory. Neige et Noirceur is sure to become one of the fore-runners of where I believe the genre needs to go. This isn't 'post-black-metal', and it also is not 'primitive black metal'. This is just pure, dark, strange, and obscure music for those who form their own path.

One thing I cannot get over in this album is the absolutely spotless blending and marriage of all the different sound textures. It is seldom that I can say that any passage in this album sounds mismatched or out of place. This is probably the most fascinating thing about this album... its ability to be unpredictable, yet make absolute sense. It sounds familiar, yet new. It is actually quite refreshing to listen to, which, after the week I have had, is doing quite a lot for me.

That, and it just sounds so darn good anyway.

I'm going to be listening to this one for a while. I tip my hat to you, Neige et Noirceur.

-Elan

Forteresse - 'Crépuscule d'Octobre' (2011) [Sepulchral Productions]

Forteresse is a Quebecois band which has been able to somehow pull off what many bands cannot do: use a pre-existing style, not alter it too much, and somehow end up with a sound that is recognizable.

In this new full-length release, this band has done what it has done before, only with better production. This can mean one of two things... that their fans will be satisfied with the same kind of material that they were expecting from the band, or that their sound could become redundant with each album.

Nevertheless, what we have here seems to be a solid, lengthly arrangement of musics tied together with rustic-sounding soundclips and spoken word passages. The drumming sounds more tight and interesting than ever before, the vocals seem to be howled densely between many sonic walls of reverberation, and the guitars are enough to hypnotize the listener into a strange, pensive state.

Overall, I personally see this album as very specific in the sense that it must be listened to upon the right state of mind. It is as orthodox as it is unorthodox... a taste acquired and fleeting all the same. 

Any way you look at it, though, there is always time for some new Forteresse material. Certainly worth a listen for folks who wish to charter the direction in which black metal is going in the new age.

-Elan

Cara Neir - "Stagnant Perceptions" (2011) [Self-Released]

Garry Brents has to be one of the most talented, if not most versatile musicians in the United States. Since his first public musical activity in 2005, Brents has participated in projects ranging from heady, brutal death metal to delicate, nostalgic electronica. With every new project just as good, if not better than the last, Brents's deep understanding of music consistently shines forth, each time with a newfound sense of maturity and depth. Now I, personally, have been waiting eons (well, since 2009) for new Cara Neir material, having been thoroughly impressed with this Texas duo's eclectic mix of grinding black metal and ethereal, atmospheric sludge, but, with Brents recent veering into the esoteric realms of post-rock and electronic music, it was hard to tell how that would manifest itself.

With their new album, Stagnant Perceptions, the duo of vocalist Chris Francis and instrumentalust Garry Brents bring forth a visceral combination of equal parts black metal, dark hardcore/grind, and Document #8 era pg.99-obsessed screamo. Though, at this point, Cara Neir is undoubtedly a black metal band, there are some portions of this album where they could easily be mistaken for a straight-up, stomping grindcore band, which is oddly fitting, due to guest spots on eight tracks by none other than Dorian Rainwater (whose name you might recognize from grind greats Phobia and Noisear). Alternating between melodic majesty and stomping rage, Stagnant Perecptions show Francis and Brents bringing forth their clearest, darkest efforts, and it shows. Cara Neir's near-schizophrenic approach to "blackened crust" or "blackened hardcore" is a manic affair, lurching at the listener with teeth bared.

I might have only had Stagnant Perceptions in my possession for a little under a week, but I feel it's already earned a place in my "favorites of 2011." The fact that a band can bring together so many different sounds, appealing to Darkthrone, Gridlink, His Hero is Gone, and Funeral Diner fans alike, and still sound cohesive is a laudable feat. As it is with every Brents-related release, Stagnant Perceptions is available for free from their BandCamp, but if you're feeling generous, you can try and purchase one of the fifty available copies here.

-Jon

Dolorvotre - "Dolorvotre" (2011) [The Ajna Offensive]

If you pay attention to the underground black metal scene, then surely by now you’ve come across the Black Twilight Circle in some capacity, whether it be the name itself, a name of one of the many bands (or members) that make up the group and so on. If you follow The Inarguable regularly, then you probably saw the photos and live review from a couple of shows earlier this year.

 With the exception of a couple Ashdautas releases (which was prior to all the other bands/projects coming about), and the Black Twilight Circle comp released in mid 2009, there haven’t been any other CD releases until now. The Ajna Offensive decided to remaster (if you could even call the initial tape “mastered”) the Dolorvotre release and release it in CD form at 300 copies, and will later on release it in vinyl format as well.

The self-titled Dolorvotre tape was originally released sometime in the beginning of the year and has gone through a few represses (as practically all BTC releases have) since then. The project is headed by Eddie (aka Volahn), the de facto leader of the Black Twilight Circle, and what seems to be the mastermind behind a large majority of the work produced in the BTC, as well as a member of nearly every project. Juan (frontman of Arizmenda, and also part of a good few other projects) supplies drum work, as well as guitar, backing vocals, and keys, while Eddie does vocals, bass, and also guitars, keys and drums.

Like most Black Twilight Circle projects, Dolorvotre manages to stand on its own, and sounds quite a bit different from the other works. The intro starts us off with a short acoustic bit, accompanied first by some ominous keys in the background, and then just seconds after, ghastly wails and tortured screams. The next track, Brilliant Brightness, sends us off into the hellish, hallucinogenic induced world of Dolorvotre, and continues for nearly 40 minutes. The sound is still a bit muddied, but much less so then in the tape release. The drums, guitars, vocals and so on are quite distinguishable – a first time in a BTC release? Possibly. Moreso then the tape? Definitely. I can even make out the bass lines.

The lyrics, although indistinguishable as with almost all black metal vocals, lend perfectly to the music and atmosphere. Here are the first few lines of Brilliant Brightness for an example:

Awakened in a pool of piss,

retch & broken glass

Nights of violence, sex, drugs...

Rotted guts - charted lungs

In and out of consciousness

Poison mushroom distorted thoughts

Drowned in currents of alcohol

Deliver us

Hopefully that delivers the point. Though if not, it can be seen with the song titles alone (“L.S.D.”,”D.M.T.” and so on).

So, if you’re a fan of the Black Twilight Circle, make sure to check this release out, or maybe wait a couple months if you are a wax enthusiast. If you’ve been avoiding BTC releases due to sound quality and so on, well, now you no longer have an excuse. It’ll be interesting to see whether or not The Ajna Offensive, or any other labels, pickup and remaster and release any of the other releases. It’d sure be nice to have them on vinyl, but the additional sound quality is just as good of a reason as well, though some may prefer the murkier, muddled atmosphere of the tape version of the release, but at least now you can choose between the two.

The album can be purchased here: http://www.theajnaoffensive.com/index.php?page=shop.product_details&flypage=shop.flypage&product_id=1609&category_id=7&option=com_virtuemart&Itemid=31

-Chase

Lost Tribe - "Lost Tribe" (2011) [Blind Prophet Records]

Darkwave, peacepunk, goth rock, post-punk - call it what you will, but this year, as I have mentioned in just about every review, has been the year of post-punk's strongest presence since the 1980s. Thanks to wonderful labels like Sacred Bones, Fan Death, Music Ruins Lives, and Blind Prophet Records, we music fans have been lucky enough to have a constant flow of forward-thinking, gloomy post-punk, each album perfect for staring at the floor, shifting around uncomfortably.

Richmond, Virginia's Lost Tribe continue post-punk's triumphant year with their absolutely killer, self-titled debut LP. Not unlike stylistic kin TSOL, Lost Tribe take a much more aggressive approach towards this glum style, injecting a hefty amount of d-beat-inspired mayhem to juxtapose catchy basslines and complacent, lazily shouted vocals. As if a small legion of angry, black leather-and-spike clad crust punks woke up with a gnarly hangover after a night of drinking to forget and decided to record a short burst of gnarly, aggressive, and catchy hardcore punk songs, Lost Tribe have unleashed an absolutely killer throwback to hardcore punk's former days of glory (with some of the coolest basslines this side of Geezer Butler).

Available now from Blind Prophet Records. Grey vinyl's all sold out, but that doesn't mean you should miss out on this monster.

-Jon

Cedars of Lebanon - "Archive II" (2011) [Land of Decay]

Once ever few months I enter a sort of a rut. I like music, but sometimes I lack the real passion to write about it. With hundreds of albums in my "To-Do" bin, everything starts to run together into a sort of harmonic blur out of which I can't really get anything. In these darkest moments, some of the most beautiful, unique, and meaningful pieces of music drag me from my lack of motivation, taking my mind to places of which I could never fathom before. Recently my ears have been craving the haunting, beautiful music of Chicago's Cedars of Lebanon, a newer project spearheaded by now-defunct experimental doom metal band Minsk's drummer.

Cedars of Lebanon's Archive II is absolutely immense, but not in the way that Minsk was. A mournful excursion into the sounds of bazaars, Sufi burial rites, and the desert at night, Cedars of Lebanon's gorgeous, meditative ambiance is unlike anything else you've heard this year. If Miles Davis's Kind of Blue is the soundtrack to Chicago at night, then Archive II takes the listener through the darkened streets of Beirut just before the sunrise. All the clubs have closed and the streets are virtually empty, leaving a sort of transcendental, spiritual atmosphere, unveiling the hidden faces of this ancient city. Extraordinarily picturesque visions of the very cedar groves of lore in which the great Gilgamesh once tread envelop the listener, taking them back to the time of the Phoenecians. Elements of stark, Burial-esque electronica emerge from time to time, snapping back to present day, but overall Archive II is centered around the extensive use of hand percussion, traditional string instruments, and a lone, grief-stricken female voice.

The beautiful ambiance of Cedars of Lebanon's Archive II, while rooted in the traditional sounds of the Middle East, show a mature synthesis of ancient and modern, highlighting the region's difficulty in maintaining its identity as the "cradle of civilization" while keeping up with the modern world. Archive II has proven itself to be one of the most engrossing, beautiful, unique releases of 2011 and will make wonderful reading music for years to come. Stream one of the six songs here and be sure to order a copy (there are only 125!) from Land of Decay.

-Jon

Servile Sect - "Demos 2005/2006" (2011) [Land of Decay]

In case you couldn't tell by my gushing review of their latest album, TRVTH, I have absolutely fallen in love with Servile Sect. This cross-country duo's otherworldly, tripped-out take on black metal is by far a breath of vitality in the polarized "Experimental" black metal scene. From nightmarish noise to dreamy, krautrock-inspired psychedelia, the duo of Nhate Clmnt and Luke Krnkr have unleashed three spectacular full-lengths of unique, thought-provoking music, but it really seems like they exploded out of nowhere. Before their Stratospheric Passenger album, there really isn't much information about Servile Sect - how they came to be, what they might have sounded like in the early days, et cetera. Luckily, thanks to Locrian-led Land of Decay Records, Servile Sect have dug deep into the vault to unleash some of their earliest demos on this spectacular new cassette release.

Within this cassette, much like their last album, we see Servile Sect in a dichotomous state. Alternating between bizarre, krautrock-like ambiance and something that is either "black metal so raw that it sounds like noise" or "noise so coherent that it almost sounds like black metal," we can clearly hear the building blocks on which Clmnt and Krnkr based their later, more coherent sound. Not to say that this demo is incoherent, per se, but what is presented is a much more simplistic and less refined version of the Servile Sect of which I have grown accustomed. However these are demos, and demo compilations are definitely something geared towards seasoned fans. If you are a Servile Sect fan, don't approach this cassette expecting something as mind-blowing and forward-thinking as their previous albums, rather with an understanding that these are their humble beginnings, and they are grand. ViralOptic/Kevin Gan Yuen provides stellar artwork yet again, adding to the synthetic, "outer space" vibes present throughout these demos.

Available soon from Land of Decay.

-Jon

Glorior Belli - "The Great Southern Darkness" (2011) [Metal Blade Records]

Since I was first shown their 2003 demo Evil Archaic Order, France's Glorior Belli have been a band I would only listen to sporadically. While I did consider myself a fan, I rarely found myself putting on one of their albums and listening to it entirely, instead opting to listen to random songs spanning their discography. I was never extremely impressed with any of their albums as a whole, but found that each album had a few stand-out tracks, some of which being particularly stellar. With their latest effort The Great Southern Darkness, the band continue where they left off with Meet Us At The Southern Sign and continue with their incorporation of elements from various genres, namely the blues and hard rock. It's as if Glorior Belli have long tired of being "just another black metal band" and this boredness shows when taking their musical progression over the years into account. This French/Italian trio have seemingly delved further and further into experimental realms with each new release, even going so far as to create a side project (11 As In Adversaries) to put out an album that was originally slated to be released under the Glorior Belli name.

This outside-genre incorporation isn't necessarily a bad thing... In a time where the very mention of the term "experimental" tends to turn up noses within black metal circles, a select few prove it is not only healthy, but, if done right, can be a much needed breath of fresh air. With this new album, these Frenchmen (and Italian drummer) have created what is undoubtedly the culmination of everything they have slowly incorporated over time. Due to the band's undeniable ability to perform a convincing "Southern" swagger along with a nice dose of blues-influenced-rock, it is incredibly fitting that the band has used the word Southern in its last two album titles. Naturally, the black metal is still there, though it is just one element which defines the "Glorior Belli Sound." This time around, I had no problem soaking this in within a single sitting and it flows exactly how a completed album should. Musically and vocally, Glorior Belli have take numerous paths to create a highly varied and enjoyable piece of work.

-Dallas

Panopticon - "Social Disservices" (2011) [Flenser Records]

I, like many others, was a misunderstood teenager. After years of childhood ostracism due to my religion (since abandoned), health problems, and, sadly, intelligence, I turned into one of those angry, angsty, long-haired metal kids. I had a lot to say about injustice, and even more to say about anything that generally pissed me (and especially others) off. Of course, living in Texas didn't help, making every day a battle against public school. I was threatened with suspensions and expulsion semi-regularly, whether it be my hair length (mind you this was a public school), the clothing I wore, or my bearded best friend. I distinctly remember a veiled "bomb threat" passing around the school, leading to police officers following me around from classroom to classroom, and my friend was frisked by one of the disciplinarians without a police officer present....
And that was just school. Outside of school my friend and I were harassed to no end by police officers, ignorant adults, and peers. Life was pretty awful from ages fourteen to sixteen, but, in reality, it's because these social services had betrayed me, a teenager who was just looking for a voice. Though this review is sort of turning into a bit of a sob-fest, and, sure, I was one of those standard "rebellious" teens, but I was misrepresented by those services set to help guide me to become a functioning member of society, and, from what I can tell from the raw, emotional case set forth by musician Austin Lunn, these services' disgust for misfits is rampant.

From its inception in 2007, Kentucky-based one-man band Panopticon has been one of the forerunners in American black metal. A vehicle for sole musician Austin Lunn's rage and passion, we've seen Panopticon cover topics such as veganism, the Haymarket Square incident, paganism, feminism, and all sorts of hot-button, left-wing, modern American "black metal" topics. To be completely honest, I must say that these  themes never really hit close to home, appealing more to the dreadlocked, "crusty" side of black metal, but new effort Social Disservices is definitely a much more personal, meaningful journey into Austin Lunn's personal morality. Austin was betrayed by society, and he is ready to speak.

Along with being Lunn's most personal, introspective, offering, Social Disservices is by far his tightest and most memorable performance under the name Panopticon. Alternating between raging, terrifying bouts of raw, aggressive black metal and melodic, profound, post-rock influenced climaxes. You will hear lengthy samples of crying children, which were actually intended to be even longer before the label suggested they be shortened, harsh dissonance, and ferocious roars, luring the listener to a dark, foreboding place within themselves. Social Disservices' crushing heaviness and heart-wrenchingly beautiful melodies bring forth Panopticon's most honest and empathetic album. A chief complaint I've seen with previous Panopticon albums has dealt with mixing and performance (there are a good handful of mistakes on other releases), but with Social Disservices we see Panopticon's tightest performance, though there are still one or two "flubs," and by far the clearest recording and mixing job, with mastering done by the ever-present Colin Marston.

Instead of politics, veganism, and religion, Social Disservices is Austin Lunn speaking out against the government funded services that have failed today's youth, and, goddammit, his voice will be heard with this record. As Panopticon's most aggressive and personal album, Social Disservices will speak to a much wider demographic...which is definitely a good thing. As for me? I, like many others, have survived without the personal guidance of public school and defense. In fact, I've recently chopped off my magnificent mane and might even be able to fit in soon enough. I guess I'm a sellout, but hey, if I can do it, then just about anyone can.

Available on CD and LP from Flenser Records.

-Jon

Alternative 4 - "The Brink" (2011) [Avantgarde Recordings]

Musician Duncan Patterson has always been a favorite and a constant source of inspiration, having helped sculpt me into the musician that I am today. His work with Anathema, Ion, and Antimatter (especially the Planetary
 Confinement album) hold a special place in my heart. Any new efforts from the Patterson camp are bound to be something either absolutely incredible or at the very least a memorable, recurring listen.

When I heard that Patterson was starting up a new rock-oriented band, I wasn't sure how to react. With eight years passed since his last rock-related album, Antimatter's Lights Out, it was difficult to fathom just what to expect from this new band, whose name is derived from Patterson's final album with Anathema  before leaving to pursue other artistic horizons. What would a rock band sound like if the chief songwriter spent the greater part of a decade in folk and world music-based projects?

Well, at the risk of sounding corny and unimaginative, it would sound like Alternative 4. This international trio, hailing from Liverpool, La Plata, and Melbourne, is a melding of the creative minds who brought us not only Anathema, Antimatter, and Ion, but also Australia's brilliant gothic metal giants The Eternal. Cinematic both in scope and performance, Alternative 4's debut album The Brink brings together sweeping ambiance, contemplative, atmospheric rock, and a deep understanding of world folk and classical musics. Throughout The Brink reside thrilling, hair-raising bouts of Pink Floyd-ian progressive rock, velvety smooth strings, eerie, standalone piano, and the passion present throughout Duncan Patterson's discography. It is unmistakable that the brilliant mind that brought the world Alternative 4 and Eternity is the man behind The Brink, and it is evident in every element of this album.

If you are a fan of any of Duncan Patterson or Mark Kelson's previous or current work, or are moved by wonderfully beautiful and emotionally stirring music, then Alternative 4's The Brink is definitely for you. A progressive rock masterpiece created by some of the greatest musicians the genre has ever seen. I would tell you to expect great things from this gathering of massive minds, but that should be expected.

-Jon

Leviathan - "True Traitor, True Whore" (2011) [Profound Lore Records]

If there were to be a book written on black metal's presence in the US, an entire volume would be dedicated to the works of one Jef Whitehead, better known as the enigmatic Wrest. Between his solo work in Leviathan and Lurker of Chalice as well as his contributions to post-punk band GiftHorse, Sunn O))), and the supergroup Twilight, Whitehead has carved his own special niche in black metal history, filled with countless hours of self-loathing, mystical, hateful music. Though Leviathan was technically ended in the mid-2000s, some shifty legal work pulled by Moribund Records gave us Massive Conspiracy Against All Life, intended to be Leviathan's final opus and, since January of this year, Whitehead has been the target of immense hate and prejudice due to an ongoing investigation concerning his then-girlfriend, potentially spelling the end of his music career. Still, he persevered, reviving Leviathan as a vehicle to express his deepest hate, culminating in the brilliant True Traitor, True Whore. After all, Jef Whitehead was betrayed, and that traitor was the truest of whores.

With True Traitor, True Whore, Whitehead has taken Leviathan to new, disgusting, awe inspiring heights. From deep within his churning black hate, TTTW shows Whitehead drawing not only from the scathing, black-as-pitch metal of which he has made for the past thirteen years, but also the gnarly, angular post-punk he had performed with GiftHorse, and even the soaring, atmospheric heights of post-hardcore, maybe not giving Leviathan a new face, but definitely highlighting influences that had lurked just beyond the fuzz throughout Leviathan's existence. An exercise in juxtaposition, TTTW is sure to crane necks and tilt heads. A shining example of Whitehead's brilliant mid-song stylistic shift, album opener "True Whorror" attacks the listener with harsh, speed-picked chords, blast beats, and croaked vocals before shifting to a mid-paced, disjointed section, heralded with spidery clean guitars, then moving into Jesus Lizard territory with bizarre chord voicings and complex syncopations. Other songs like "Brought Up To The Bottom" and "Contrary Pulse" see Whitehead embracing introspective, melodic, and, dare I say, "post-rocky" heights, bearing striking similarities to his sonic experiments on 2005's A Silhouette In Splinters. As we have seen on previous recordings, Whitehead is no stranger to technical drumming, and his prowess is shown especially in "Her Circle Is The Noose," whose complex drum patterns rival even those of the world's finest jazz percussionists. Immediate, passionate, and filled with some of Leviathan's "catchiest" moments, Jef Whitehead's second resurrection of Leviathan proves to be his most effective yet.

A product of Jef Whitehead's indescribable rage and betrayal, True Traitor True Whore stands as one of Whitehead's most memorable and enjoyable recordings. With stunning studio work done by Chicago's own Sanford Parker, True Traitor's cleaner approach will definitely act as a "jumping off" point (suicide pun intended) for new Leviathan fans, but here's hoping that these newcomers find just as much enjoyment in Verrater as the rest of us do. True Traitor, True Whore is available for preorder today from the incredible Profound Lore Records.

Let the hate enfold you.

-Jon