Fyra Elegier was originally released on mini-CD via Nordvis Produktion, and on vinyl by Blut & Eisen Productions some months later on. The material was recorded by Perditor (vocals, bass and guitars) and drummer Hallbäck and lasts for about twenty four minutes. We did receive it only very recently, but despite big piles of other stuff waiting to be reviewed, I didn’t want to ignore this one.
San Francisco-based project Vastum, with former and current members of e.g. Acephalix, Necrot and Hammers Of Misfortune, did surely impress undersigned, and undoubtably tens of millions of others, with 2011’s Carnal Law. The sophomore record Patricidal Lust was recorded at the famous Earhammer Studio and goes on in the very same vein, yet with a heavier and more dense and darkened / darkening core.
For this isn’t but a short (ten minutes of duration) two-tracker, I will not spent my un-wasteful time on a majestic biography. This single is a prequel to their upcoming full length, and then (meaning: when I have the opportunity to review the new album) I will be more kind to do so… Just this: Negura Bunget are one of my favourite acts from Romania. I do follow them since the very beginning and I can appreciate (almost) everything they did in the past.
Primo: Hells Headbangers and their intelligence for the re-issue of classics. In an impressive series (think: Deceased, Beherit, Mortician, Incantation, NunSlaughter, Insanity and many more), the label comes with the vinyl re-release of Dahmer, originally released in 2000 via Decomposed / Hammerheart Records.
Way back in the mid-eighties, I proudly brought Rattus' full-length album Stolen Life to my weekly meeting with the group of Punk/ Hardcore music lovers I had befriended, and prepared them for a shock. Even then, I had grown convinced that what held back musicians to grow out of the Punk/ Hardcore idiom into spheres more complex, was the fact that they didn't have the techniques to do that, and that as soon as a musician had acquired such techniques, (s)he would put them into practice in the music played!
This split-album - and indeed, I am directly going ‘into’ the actual review - starts with three tracks (Deonte, Oblitus and Dolore) by Salem, Oregon-based act Hell, a solo-outfit of former Merkstave and Elu Of The Nine member M.S.W. Once again, his contribution is an aural definition of desperation, suffering and anger, translated via slow-paced tunes of Drone, Sludge, Funeral Doom and Black Metal.
This split-album - and indeed, I am directly going ‘into’ the actual review - starts with three tracks (Deonte, Oblitus and Dolore) by Salem, Oregon-based act Hell, a solo-outfit of former Merkstave and Elu Of The Nine member M.S.W. Once again, his contribution is an aural definition of desperation, suffering and anger, translated via slow-paced tunes of Drone, Sludge, Funeral Doom and Black Metal.
With little info to be found anywhere else, I'll introduce this new act to you with the text also posted at the label's website (altered, of course, to the usual ConcreteWeb criteria):
As the short “description” of the band on their facebook page (www.) facebook.com/Gnawtheband wil tell you (and I take over the word verbatim) “Gnaw is the sawblade-wrapped-in-razorwire brainchild of Alan Dubin (Khanate, OLD), Carter Thornton (Enos Slaughter), Jun Mizumachi (Ike Yard) and John Sykes (Thor's Hammer, Burning Witch).
The Ruins Of Beverast were formed ten years ago by Alexander von Meilenwald after Nagelfar (unfortunately!) split up. The project did three albums in mean time (all of them via the small yet, at the same time, great underground label Ván Records), Unlock The Shrine, Rain Upon The Impure, and Foulest Semen Of A Sheltered Elite, which all, without exception, were of a fabulous quality (at least I think so).
