Like any good metalhead, I try to keep track of all the shows happening in my neck of the woods, even though I can only make it to a fraction of them. This is how Belgium’s Goat Torment popped up on my metal radar. Turns out the band will be tormenting Sacramento as part of a handful of West Coast dates in conjunction with their appearance at California Deathfest in Oakland (no, I will not be in attendance), which is right around the corner.
Every few years, Candlelight Records releases a really cool black metal album and then does jack shit to promote it. Back in 2013, it was Throne of Katarsis’ The Three Transcendental Keys. This year it’s Chaos Magick, the second full length from Finland’s Saturnian Mist.
This past weekend, my wife and I ventured down to Anaheim to get our Disneyland fix. But the magic kingdom wasn’t the only destination on our agenda; Mrs. IG built some time into our busy itinerary to make a stop at the mighty Dark Realm Records. For those unfamiliar, Dark Realm is the Los Angeles area’s only all-metal record store and is run by brothers Rick and Bay Cortez of the legendary Sadistic Intent. I first visited the shop roughly six years ago and was blown away by the selection of CDs, shirts and various other heavy metal goodies, so I couldn’t wait to finally make my second pilgrimage.
2015 has been a damn fine year for death metal so far, and it appears that Profound Lore is looking to up the ante with their most recent salvo of releases. Indeed, the label has in its hot little hands a pair of debut full-lengths from two up-and-coming bands who’s respective takes on death metal couldn’t be more different if they tried, yet both strive for excellence in their own way.
Regular IG readers and especially those that know me outside of music blog land are well aware of my affection for John Carpenter, and a sizable chunk of that affection is based on his soundtrack work. Films such as Halloween and Escape from New York simply wouldn’t be as effective without Carpenter’s sinister, tension-filled electronic soundscapes as accompaniment.
1. I hope to be able to cover more ground. Let’s face it, a metric fuck-ton of metal albums get released each year, and my lazy ass covers only a small handful of them, meaning that year after year there are tons of albums I’d like to cover that slip through the cracks. Round-up style pieces seem like a pretty good option for spreading the love and giving more worthy albums some digital ink.
2. The more I listen to metal and write this blog, the more I’m starting to realize that not every album needs a five hundred word review. It’s entirely possible that I’m running out of shit to say about metal, but I honestly think a lengthy, in-depth review is a bit of a time-waster when you can just go listen to the damn album yourselves with a few mouse clicks and form your own opinion.
3. I discover and re-discover old shit just as often as I listen to new shit. I often want to write about the older music I’m listening to, but not every used CD score or re-discovery of an old album is worthy of a Top 100 Albums post. I’m hoping that this will give me the opportunity to talk about older albums, be they universally recognized classics or hidden gems on a regular basis.
Sacramento gets a ton of great shows, but we’ve been more than a bit lacking in the black metal department of late. Don’t get me wrong, I’ve enjoyed the shit out of seeing the likes of Melt Banana, Ufomammut and -(16)-, but I’ve also been absolutely dying for the visceral experience that only a straight-up black metal show can bring. So, I was extremely grateful to Wretched Earth Productions for treating us to this killer lineup of Cali-bred BM at Starlite Lounge, which is quickly turning into my go-to spot for kick-ass metal shows.
When darkwave legends Lycia returned from the musical wilderness with Quiet Moments in 2013, it was widely hailed as a stellar comeback for the band. While I certainly enjoyed the album, I couldn’t help but feel that they were just warming up. Quiet Moments is unquestionably a good record, a great record even, but it also struck me as the work of an artist attempting to fully regain their footing after some fairly lengthy gaps between releases (seven years between Empty Space and the Fifth Sun EP, three years between Fifth Sun and QM).
Are you guys getting tired of me gushing about Caligari Records yet? Well if you are, too bad! The Florida-based label continues to put out some of the finest underground metal you’re likely to come across while leaving no genre stone un-turned. The label’s latest batch of releases speaks to the impressive diversity of the roster.
After years of listening to mainstream metal, Cradle of Filth were one of the first “extreme” bands I latched onto as a wee lad. As such, it has pained me to watch them slowly but surely become a shadow of their former selves. I’m not entirely sure what went wrong after Nymphetamine (some fans would argue that CoF went to pot well before that) but it seemed that Dani and the boys were damned to linger in the limbo of mediocrity forevermore following that last gasp of greatness, as evidenced by a lengthy string of tepid albums such as Thornography and The Manticore and Other Horrors. The music was uninspired and Herr Filth’s voice sounded shot, leading me to largely turn my back on this once well-regarded symphonic/gothic/black metal institution.