So that Boston show really was the last…
Cobalt was great. I saw their final show. Fuck you.
So that Boston show really was the last…
Cobalt was great. I saw their final show. Fuck you.
The AC//13 just keeps on giving.
Earlier this month, suddenly and without fanfare, Worsen released, via bandcamp, its debut ep, Blood. Knowing nothing about the band beside its affiliation with Atrum Cultus, I suspected ties to other AC//13 bands, given the collective’s tendency towards incestuous band relations. After some sleuthing my presumptions were proven correct: Worsen is the solo project of Rick Contes, lately of Young and In the Way and Votnut, previously of the highly underrated Ayr.
This is one hell of a debut. Furious and deceptively simple, fast and emotive, Blood starts at a breakneck pace and never relents. Walls of 2nd Wave-inspired tremolo create the backdrop for Contes’ muscly shout and pounding blast beats. Reminiscent of Ayr (and early Gorgoroth) at times, Worsen is its own beast and one hell of an addition to AC//13’s already stacked roster of bands.
Get it at bandcamp and pray for a physical release.
It may be time to say “Rest in peace” to Rhinocervs.
At some point in the last few days, the label’s page on Blogspot was removed. Anonymity and secrecy have always been a part of Rhinocervs (after nearly 5 years, no one knows how many guys are involved), but this is different. Except for a recently launched bandcamp page (with an open-ended contact that lists no e-mail or name), it served as Rhinocervs’s sole means of communication/contact with fans/the Internet/the outside world.
Its removal alone doesn’t sound a death knell, but consider this:
- There’s been zero communication from the label in almost a year
- Since at least July, the Rhinocervs webstore has been offline
- The label’s most recent release, Rhinocervs-16, has become infamous for its unavailability/semi-unreleased status. Initially set for release this past June, the tape took months to reach a handful of distros and record stores and it seems as if the majority of individual orders were never shipped
It really makes you wonder if the label has finally cut and run.
Rhinocervs (along with its cohorts at Crepusculo Negro) is notorious for ripping people off. A quick google search will reveal a bevy of stories on blogs or forums about tapes or shirts being payed for but never received (you’ll also find a lot of posts rebuffing those claims, but that’s another story). For years, the label managed to stay afloat, primarily thru the quality of its material, heavy word of mouth and by shipping just enough tapes so as to maintain a dubious sense of respectability and trust. And people kept coming back; until the RH-16 fiasco.
Tape-based labels have exploded in the last 2 years and during that time Rhinocervs was both a fore and front-runner in the field. Their aesthetic, their music, their devotion to the seemingly lost art of anonymous black metal, rightfully made them kings of the tape here in the states. But after years of bad business and outright theft, its time to let them crawl off into the dark and die.
Given that there are respectable, honest tape-based labels putting out quality material and respecting their fans/customers (Colloquial Sound Recordings, Cult of Melancholia and Fallen Empire, I’m looking at you), there is no reason to continue to financially support a label like Rhinocervs. It’s just bad business. And they did it to themselves.
Coffinworm’s last record (a split with Fistula) didn’t do much for me. Considering how great When All Became None was, it was a disappointment and made me wonder if Coffinworm was a one and done kind of band. I’m wondering no longer. “Lust Vs. Vengeance” is just as densely packed and punishing as anything on WABN, yet not a tired retread of that album. Dave Britts’ vocals are even harsher, the guitars swirl and entrance and the drums hit like a mother fucker.
Taken from the album “IV.I.VIII.” (out 03.18.14 on Profound Lore).
Don’t ask me to explain ambient music, because I cannot. White noise, distant piano, longing, a lack of percussion,hiss, water, the ebb and flow. Play it. Wool by hedia.
"Babette and I tell each other everything. I have told everything, such as it was at the time, to each of my wives. There is more to tell, of course, as marriages accumulate. But when I say I believe in complete disclosure I don’t mean it cheaply, as an anecdotal sport or shallow revelation. It is a form of self-renewal and a gesture of custodial trust. Love helps us develop an identity secure enough to allow itself to be placed in another’s care and protection. Babette and I have turned our lives for each other’s thoughtful regard, turned them in the moonlight in our pale hands, spoken deep into the night about our fathers and mothers, childhood, friendships, awakenings, old loves, old fears (except fear of death). No detail must be left out, not even a dog with ticks or a neighbor’s boy who ate an insect on a dare. The smell of pantries, the sense of empty afternoons, the feel of things as they rained across our skin, things as facts and passions, the feel of pain, loss, disappointment, breathless delight. In these night recitations we create a space between things as we felt them at the time and as we speak them now. This is the space reserved for irony, sympathy and fond amusement, the means by which we rescue ourselves from the past."
-Don DeLillo, White Noise
Brian Cook plays bass in Russian Circles (which just released Memorial, a killer record). He’s also a writer. He frequently updates his personal tumblr with tour stories, artwork, and a whole lot of Q&A. Anyway, he just posted a quick story about Russian Circle’s touring cycle for Geneva and how it led into the recording of Empros. Well worth a read and well worth following if you aren’t already.
Time & Place: Brian Eno Ambient 1: Music For Airports
Russian Circles was tracking our third album Geneva at Electrical Audio in Chicago back in the spring of ‘09. I was crashing on a couch at Mike’s apartment during the recording process. Most nights, I would go to sleep listening to Brian Eno’s Ambient 1: Music For Airports on headphones. I had never fully embraced Eno’s work prior to that timeframe, but the album completely won me over in those weeks that we were in the studio. Writing and recording Geneva was a very positive experience. We had written most of it in a basement of a house in rural Wisconsin during the winter of ‘08/’09. We’d hole up at the house for a week at a time, drinking coffee and writing at a relaxed pace during the day, then drinking beer and playing cards while listening to records at night.
Touring on the record, however, was less than ideal. Every tour on that album seemed to have a stumble. The very first show of the very first Geneva tour, we had a guitar stolen off the stage at the end of the night. A guy literally walked onto stage while we were packing up, grabbed the guitar, and walked out a back exit. We were in two automobile accidents over the course of the next year, one of which totaled our van, trailer, and a large chunk of our gear. But the most frustrating setback came on our first European tour to support the album.
There were a few issues here and there over the course of the tour: some ongoing gear problems, some glitches due to some rescheduling of dates, a pesky stomach flu among the ranks, etc. But the real issue came at the very end of the six-week trip. We had two shows left: a set at the Roadburn Festival in Tilburg, Netherlands, and a fly-in date in Athens, Greece. The night we played Roadburn we got the news that the European airspace was shutdown due to volcanic ash resulting from an eruption in Iceland. We would be unable to fly to Greece the next morning for our final show. What was worse was that our flights home were booked out of Athens, so we wouldn’t be able to fly home either. We were stranded. The Athens promoter was flexible enough that we could reschedule the show whenever the airspace opened back up, but the forecast for that happening was fairly grim.
We spent nearly a week at a hotel attached to Schiphol Airport. Every morning we would wake up, walk down to the terminal to see if any flights were announced, then walk back to the hotel and rebook our hotels through Priceline. It was strange: all the hotels in the area were booked solid because of stranded travelers and the terminal at Schiphol started to look like a refugee camp, but somehow we were able to rebook our rooms through Priceline every morning. In many ways, it was a very relaxed several days despite the uncertainty of our departure date. I worked out at the hotel’s gym, used their sauna, and took the train into Amsterdam to pass the time. At some point they started recommencing a few flights and we were able to get to Greece. In Athens, the laid-back vibe the previous several days disappeared. There was still no guaranteed day we’d be able to fly back to the States. We were staying in a hotel in a neighborhood filled with junkies. We had a bag stolen while checking in. We tried to count how many heroin needles were littered on a single block, but gave up because the number was so high it became depressing. People were nodding off on the sidewalk. A man without pants and with shit running down his legs was begging for change. The government was proposing austerity measures, which meant there were protests in the streets. Local businesses would only accept cash, but anarchists had smashed all the ATMs in the area. There were burned out cars on the street. Between the junkie-zombies, natural disasters, and civil unrest, it felt a little like the end of the world.
But we got home eventually, after about an additional ten days or so. We acknowledged our Athens experience by titling our next album Empros, which means “onward” in Greek. We also gave a little shout-out to the airport that had been our refuge at the beginning of the ordeal by titling a song “Schiphol”, a composition meant to capture the subdued melancholy of those days before moving on to the dramatic conclusion of our tour in Athens.
I just returned from another European tour a couple of days ago. The trip was about as smooth and hassle-free as one can hope for. No volcanoes. No theft. No van wrecks. We played “Schiphol” every night, and about halfway through tour Mike started playing a couple of passes of the main piano melody from the first track off Eno’s Ambient 1 before going into our own homage to the airport. Part of me hoped there would be some folks out there that recognized the melody and made the connection between Eno’s piece and our song. At least one person in Copenhagen noted the melody, yelling out “Music for Airports” later in the set. Whether or not anyone picked up on its relation to “Schiphol” is unknown to me. But it doesn’t really matter. Ultimately the interlude just made me happy to think of how things have come along in the last few years—from the idyllic moments leading up to Geneva’s release through the hardships of those tours, from the difficult process of creating Empros through the reassuring tours in its wake, and, finally, being in the position to reflect on those experiences while moving onward to the next chapter.
Fallen Empire is set to release a new EP from New Jersey-based black metal horde Death Fortress, Mirror Into Eternity. Previously a one-man project, Death Fortress has become a trio, fleshing out it’s sound, while retaining the violence, speed and harsh atmosphere that made its first two releases so memorable.
After quietly putting out last year’s phenomenal Pulling Ancient Stone, Death Fortress was featured on the much-discussed SVN OKKLT compilation and put out one of 2013’s best split releases with Axis of Light. Hypnotic, violent, gruff and lo-fi as fuck, Death Fortress is easily one of the best black metal acts to emerge in the last several years. Preview a track from the new EP at Fallen Empire’s bandcamp and support. Release date November 21.