God Destroyer - III

Third release (obviously) from this New Zealand ambient/drone project. Two tracks, coming in at just over 20 minutes. The first, 'Ghosts', gradually builds in intensity over its 13 minute length, constantly adding texture and noise to its already warm and bass-y drone. It's arguably the best song they've recorded thus far.'Iñupiat' closes the EP with a gentle comedown, displaying an excellent grasp of minimalist composition. As an overall record, III is by far the most polished and conceptually 'complete' release by God Destroyer. You can download it from Zeronoize. The God Destroyer Untitled compilation tape is still in the works, and will be available here on Slays for Days Records very soon.

Bad Life - The Day You Die

'Bad Life is a procession of every half-heard sound that ever seeped through heat-cracked walls distorted. The Day You Die is eleven death rattles as rallying cries, grinding against the walls of this world'

Music Ruins Lives is back again - having been somewhat inactive over the past couple of months, the label has set off a series of upcoming releases with Bad Life's The Day You Die. Did I expect anything bad from MRL? Of course not. Did I expect to be blown away by Bad Life? Not entirely, but that's still what happened. Bad Life, as far as I can ascertain, have been around for a while, putting out some splits and such. The Day You Die seems to be their first full release however.

I find it hard to to properly categorise Bad Life. At its core, the band follows a post-punk template, but elements of noise rock, doom metal and Have a Nice Life-esque melancholy shine through. To sum it up as concisely as possible, this record is a fusion of both post-punk's and doom metal's versions of depression. Hearing Curisms alongside clear Black Sabbath influence seems to be a rather unpalatabe combination, but Bad Life make it work perfectly. Add to this a highly textured and addictive pop sensibility (warped beyond recognition by the band's experimental nature), and you have what could possibly be one of the best underground records of the year.

As dark as its subject matter may be, there is a consistent level of accessibility to The Day You Die, despite the record's almost malevolent atmosphere. For those of you who listened to nothing else but Deathconsciousness in the months following its release, you are strongly encouraged to spin this through just once. That's all it will take.

You can stream the album at Bad Life's bandcamp page.
Preorder the CD from MRL's store, as well as several other great releases they still have available (Wreck and Reference, Bad Braids).

Psychic Blood - S/T Demo

As a fuzzy combination of Sonic Youth and the Butthole Surfers, Psychic Blood have certainly done their research - their noise and shoegaze-laden style of discordant alternative rock does very well to remain true to the bands they're inspired by, but at the same time retain even a smidgeon of originality. Not to say that this is original, but there does seem to be a shortage of bands like Pyschic Blood these days - at least good ones. Post-punk melodies, noise-rock rhythms and shoegaze-esque distortions make up the brunt of this demo, and it's combined rather authentically underneath the band's lo-fi aesthetic. Apparently there is more Psychic Blood on the horizon, so if you like this demo, keep your eyes open.

Download it here

Keep up to date here

Blut - Grief and Incurable Pain/Ritual and Ceremony

Ritualistic drone doom gets bad rep these days. A few years ago it was all the rage, but it seems no one really wants to get their hands dirty anymore. And fuck Sunn O))) - they don't deserve half the acclaim they get. While the drone doom genre may be lacking, this could be partly due to my own ignorance; I'm usually content with Corrupted repeats and a local act from these parts called Drowning Horse so I don't feel the need to search out other, newer groups. But this is where Blut makes their entry. A two-piece outfit from the UK, Blut combine noise and a lo-fi aesthetic to further emphasis the 'ritualistic' component of their style.

As far as I know, Blut has several releases under their belt - I received only two of these in the mail, but apparently they are the band's two full lengths, last year's Ritual and Ceremony and the recently released Grief and Incurable Pain. Both records are very similar in sound and style, combining colossal riffs with long and painfully slow passages of murky, droning ambience. It can be said with some certainty that Blut's style is not incredibly palatable, but this is merely from the outset. With repeated listens I've found a plethora of depth to these overly excessive recordings.

The way atmosphere is handled by the duo is surprisingly good. More often than not, the types of people making this kind of music don't really have any idea what they're doing and end up creating long songs that are boring as shit, feel like they go nowhere, and certainly don't help the listener 'transcend' to an alternate plane or whatever the fuck the intention is. There are little things here (remember, it's always the little things) that just make it for me. Both records are heavily textured, albeit in an extremely lo-fi manner, with layers and layers of fuzz cushioning the constantly rolling riffs. The noise and ambient passages are ritualistic by every definition of the word, and the occasional synth work that Blut utilises makes for some interesting vibes. In actual fact the noise/ambient passages remind me of 70s horror films, but without the four decades of deteriorating shock value.

What is most (un)pleasant about Blut is the sheer filthiness of the recording. The drums are completely buried, and sound entirely suffocated under the weight of the riffs. Leadwork is also put to use, arching over the murkiness of the songs. Good examples are in 'Death.Mourning.Famine' from Grief and Incurable Pain or 'Throne Ritual' from Ritual and Ceremony. The latter track goes for 24 minutes, and after building up a lumbering riff for a little over 6, throws in this harrowing black metal inspired tremolo-ed riffage, which sits perfectly with the overall mood of the track. Similar moments are strewn across both albums, and make the build-ups even more exhilarating. And just because I'm a lazy writer, I'm just going to tack this onto the end of the paragraph - no, Blut is not instrumental. The vocals aren't overly used, but they're mostly disgusting and completely unintelligible shrieks and gutturals. Whether this affects your decision to hear the band or not is irrevelent of the fact that they work perfectly with the music at hand.

Blut have requested that I upload the two albums I received, so both are available below uploaded at 320kbps. I highly recommend this to fans of this style, particularly to anyone who wants a little foulness in the wake of Corrupted's overly clean recent offering. Check out their website for more information on other releases (the availability of which I'm uncertain).

Ritual and Ceremony
Grief and Incurable Pain

Blut

Dirty Beaches - Badlands

Without a doubt this will now offically be my summer hangover record; in my opinion it's one of those love it or hate albums. Dirty Beaches offer you nothing more but a record do absolutley nothing to and it feels great. The only thing wrong here is that it's length does do the album justice as the album is not even a half hour long. After its completion the listener should feel lost and miserable and if you do not feel this way you are most likely not a person and probably a terrorist. Another thing Badlands could be criticized for is it's originality; the bassline from "A Hundred Highways" straight from Les Rallizes Denudes' song 'Night of the Assassins' but it's not like we haven't heard that bass line before in any other Denudes song anyway, it is time to get real. There are couple others worth mentioning but I just listened to the album again and i don't feel like doing anything anymore.

Badlands

God Destroyer - S/T

God Destroyer is from New Zealand. I personally have not been to Australia's smaller neighbour (yet) but I've heard good things. For such a small country with a tiny population, I'm always surprised at how good underground music is over there. There are several death metal bands who've recently gained international limelight, and the last year or so I've uncovered a burdgeoning hardcore/PV scene with more filth than most can handle. Nowadays when I associate a style of music with NZ, I think of crackling tapes and lo-fi aesthetic.

Now to be sure, I'm not complaining in the least. While I'm positive every style of music exists in NZ and I simply haven't heard about it yet, God Destroyer is a surprise for me, as well as being completely expected. Given the different bands and styles I commonly associate with NZ, God Destroyer is very far removed. But then given the placid atmosphere and scenery that we all know NZ to be famous for, God Destroyer is incredibly fitting as a musical accompaniment to the country’s environment.

When I received the self-titled album, the tag of ambient didn’t dissuade my thoughts that this would be something a little noise oriented, something a little fucked up. This is not the case. God Destroyer is reminiscent of some earlier Aidan Baker, displaying gentle, flowing tones that pulsate through your own warped visions of nostalgia. There is something genuinely haunting about this type of drone music – while it can often be very alienating, it at the same time breeds a greater appreciation of isolation.

There are four lengthy tracks on this demo, all which follow a similar template. It’s pointless to go into specifics here – this is minimalist ambient music. However, when it does break the mold of minimalism and reaches into the expanses of drone, when the pulsations are loud and the musical surrounds are filled with a soothing buzz, God Destroyer is at its best. These weightier passages are juxtaposed with the minimalist quietness of other passages, further emphasising their intensity.

As far as I know (and can tell) this is a DIY recording, so listeners only familiar with the later works of bigger artists such as Baker or Tim Hecker should not expect crystal clear production. In my opinion the somewhat fuzzy exterior to this album gives it a sense of reality, making it all the more authentic and organic. But that’s just me though. The demo is free to download, and you’re all encouraged to do so.

download

The Dada Tapes

From the outset, Perth, Western Australia's music scene seems sparse and uninviting, even to people who live here, but with enough dedication one will uncover a thriving and genuine underground, in a plethora of different styles and genres.

Perth has two main centres, being Perth (the CBD) and Fremantle, a port town. In terms of record stores, Fremantle has two well known ones (Mills and Junction Records), as well as a couple of second-hand stores. The city has a few more, such as 78 Records (shit) and a few new ones I'm unfamiliar with, but the best of the bunch is easily Dada Records, a nondescript store front with a huge collection of different types of stuff. As I've found out, the store is quite involved with many of the city's 'experimental' bands, and has released a tape of various live recordings from a collection of Perth bands.

The artists I'm familiar with on the compilation (Royal Vomit, Mental Powers, Gilbert Fawn etc.) all provide a really great song each, but there really isn't anything remotely bad here. The songs range from soft folk/ambient to more outlandish and noisy experimentation, as well as more rock-oriented ones (as well as a hip-hop track). The comp is entrancing from beginning to end, and highly recommended.

Thanks to Reel Muzak for posting the link up. The tape was limited to 200 copies and is probably long sold out, so this rip is all latecomers such as myself have to go with.

download

Slays for Days Issue #1

Copies of issue 1 are available again. Another 25 copies were printed, 20 of which remain. Send an email to the address given below to order a copy. A couple of distros will also have copies available soon.

---------------------------------------------------

The first issue of the S4D print magazine is now available. In terms of content, there is a predominant focus on Australian music. There are also three pages of reviews. The four interviews are with:

- Drowning Horse/Warthreat
- God Harvest
- Mammon
- Ocean of Zero

Within Australia, the zine is $3 shipped.
International orders, $5 shipped.

To order one, send an email to slaysfordays@hotmail.com

Slays for Days Print Zine

Slays for Days has gone to paper - the first issue of the S4D print zine is now finished and just needs to be printed. It should be available by the end of the week. Interviews with Drowning Horse/Warthreat, God Harvest, Mammon and Ocean of Zero, as well as a bunch of reviews. I haven't worked out how much it will cost yet but it probably be around $3, with shipping within Australia a dollar or whatever and international shipping a couple of dollars. More information regarding cost and how to order one will be posted shortly.

Column of Heaven - Ecstatically Embracing all that we Habitually Suppress

Noise is the bastard?

Canada's The Endless Blockade has given us a fair few years worth of material to ponder in our dingy record dens, but this doesn't necessarily mean the blockade has come to a close - as the name would have us believe, the noise is indeed endless. Column of Heaven is an offshoot of the Endless Blockade, or in the words of the band, 'the new post-Blockade group', and they have recently released their first demo tape, called Ecstatically Embracing all that we Habitually Suppress.

Andy from the band states on his blog that 'When we were talking about starting this band the original idea was a loose "Like Blockade but with more noise and less hardcore; more weird shit." This release definitely isn't "less hardcore; more weird shit", at least not to my ears. The future may be different, but we'll see what that looks like when we get there i guess.'

His expression of Column of Heaven's sound is pretty accurate - Ecstatically... sounds a lot like Endless Blockade, but the band have in some ways suffocated the hardcore/pv aesthetic with more noise and power electronics. Obviously this was an element in Endless Blockade's sound too, and so I don't really hear much of a notable difference. The intro song 'Altars' and several other tracks on the demo encapsulate the foray into noise remarkably well. Rather than listen to my shitty descriptions, you can listen to the intro track as well as see its accompanying video here.

In my opinion this demo is nothing but good news. It carefully fills in the void that EB has left, and from the looks of it Column of Heaven are going to be taking the project into a different direction, one which I anticipate thoroughly.

You can listen to the demo entirely on youtube at this link. Alternatively, you can download a (high quality) digital version from the band's blog, where you will also find links to purchase it (though I'm not sure if there are any physical copies left).

Suffering Luna - S/T

Suffering Luna were a crust/hardcore band that existed in the early to mid-90s alongside bands such as Despise You, Gasp and Dystopia. I won’t go into detail, but the band struggled to keep it together and eventually disintegrated, leaving two splits behind them (a 7” with Dystopia and a 12” with Gasp). The band has more or less reformed now, rehearsing and touring over the last year or so in anticipation of their new record, an LP that contains new material and a lengthy live recording.

While the hardcore aesthetic is prominent in Suffering Luna’s style, there is an inarguable originality to the way they play. Combining the eccentricity of Man is the Bastard with the hallucinatory nature of Gasp, Suffering Luna can be and often are labeled as ‘psychedelic hardcore’, a term that is perhaps a little vague but makes sense once the music is heard. If anything can be said for sure, it's that they don't sound anything like their contemporaries.

This self-titled LP contains three new tracks featuring Suffering Luna’s signature sound, a combination of compositionally progressive crust and highly textured soundscapes a la Neurosis. ‘Sea of Drugs’ opens the record, and sets the mood with an almost tribal feel and dirge-like pace, creating a sense of dread with a weighty atmosphere. The pinnacle of the three songs is the middle one, ‘Paranoid Delusions’ – this ten minute epic showcases the band’s capabilities clearly, displaying their ‘psychedelic hardcore’ in full force.

The B side of the record is a 24 minute live set, recorded last year in a studio – the sound quality is high, allowing one to properly hear everything that is going on in Suffering Luna’s music. This includes spacey bleeps and bloops and disfigured samples played under the lumbering crust that defines the band. There is definitely a disparity between the live recording and the properly mastered songs, however the difference doesn’t lie in quality but in the nature of the recordings – the live set has a very full sound, with the vocals higher in the mix and the atmosphere a little more abrasive. Regardless, the two sides show two different ways of hearing Suffering Luna’s music, and both are highly invigorating.

Whether or not the reformed band will last is hard to say, but as it stands their new material is very solid. A lot of work has gone into making this record cohesive, and even the live set sits remarkably well along with the other songs. To purchase a copy of the record, follow the links on the band's website. Rips are floating around the internet.

Evil Invaders III

Despite planning on making the trip across the wastelands of this country to attend Evil Invaders III, I didn't quite manage to work it out, with uni and work etc. Which is pretty shitty considering the line-up of (but not limited to) Ignivomous, Innsmouth, Portal, Grave Upheaval, Black Jesus, Impetuous Ritual and the legendary dISEMBOWELMENT ressurected under the name d.USK. The gig is essentially the culmination of Australian underground death metal.

While I didn't make the trip, fellow slayer Eddie went up to Sydney from Melbourne to catch the show, and was nice enough to write about his time there. Read it here.

Bad Braids - Arrow and Orb

While you're all still delving into Wreck and Reference's EP, here's another Music Ruins Lives record that will undoubtedly interest you. Bad Braids' EP Arrow and Orb is a collection of six intimate and enticing folk songs, making up a captivating twenty minutes of introspection.

Arrow and Orb is a simple record, eschewing complexity in the wake of honest emotion and placid contemplation. Even through its simplicity, it still took me a while to properly digest Megan Biscieglia's music. While it's clearly charismatic, the mixture of pop sensibilities and somber folk on the record is almost hypnotic, leaving the critic in me somewhere far away from Biscieglia's voice.

Folk music is about personality, and it's about emotion. Arrow and Orb demonstrates both of these plainly, which ultimately becomes its affecting quality. It sounds just as much like everything else as it does nothing else, an unwavering sign that this project does not need to cater to unestablished and whimsicial folk tenets to write a good song - Bad Braids is simply heartfelt folk, meant to be felt from your heart.

You can download the EP from Bad Braids' bandcamp page for a price you choose.

Wreck and Reference - Black Cassette

And so here I was thinking that I wouldn't ever find any new takes on doom metal worth hearing, until Wreck and Reference sent me a copy of their EP, Black Cassette. From the outset, this band's music retains elements of traditional doom, but it warps and distorts them into something totally unique. Coming out of California, the band describes themselves as a 'lo-fi electronic doom band', one that plays doom with no guitars. While this could be off-putting for some, all it does is simply set Wreck and Reference apart, putting them in a category that is completely their own.

Other than the drums and vocals, all the music on Black Cassette is electronically created using synthesizers and various samples. The end result is a composition that is structurally a 'doom' record, but one which loosens the genre's boundaries and leads expeditions into experimental territory. The claustrophobic nature of doom is here, but it is further accentuated by a noise-esque fuzz over the composition. Moments where the music bursts to life are shadowed by a deep rumble that is unnerving in the best possible way. Do not be mistaken, however, in thinking that this is as ‘lo-fi’ as the band claim – while there is a DIY feel to this record, it is immaculately produced and simply sounds great.

The pace of the EP is pretty much perfect. There are no lengthy songs here, and though the whole thing goes for a little over 23 minutes, I don't even notice the time when I listen to it. Compositionally, Wreck and Reference have nailed it. Each song is as engaging as the last, and while they keep to a similar core approach in each one, there are differences that set them apart and keep them fresh. Strange melodies, such as the one at the end of 'Evening Redness' or on 'Surrendering' are captivating and emotionally charged, a current that runs throughout the entire EP.

If I had to pick one thing about Wreck and Reference which makes me refer it (loosely) to traditional doom, other than the lethargic tempos, it would be the vocal work. While it's not a reference due to similarity, I'll simply drop the name Warning to get people interested. The vocals on Black Cassette are very unique and ordinary at the same time, something that Pat Walker is arguably known for. On Black Cassette, one thing that characterises all the vocal work is the acerbic tone in which it’s delivered, one which ranges from almost Placebo-like emission to Walker inspired wails (the vocal performance on 'In Chains, Awakening' a perfect example). If anything, they make Black Cassette all the more inviting.

What I love most about this record is the fuzz. And sometimes the lack of. The 'riffs' are made of walls of distortion, which swell and dip frequently, and the occasional moment where the absence of the fuzz is emphasised juxtaposes wonderfully with the rest of the composition. The quiet first half of 'Surrendering' as opposed to its abrasive and almost despondent climax is one such example, a formula that the band repeats in a variety of ways throughout Black Cassette.

At first I put little effort into this EP, but all it took was one concentrated listen for me to realise how good it is. Wreck and Reference is a young band, forming only a couple of years ago, and I'm while I'm unsure of any earlier releases, Black Cassette is reason enough to become a fan. They're a mesh of Warning and The Die is Cast-era Menace Ruine, with a lot of unique twists and touches - something which, in my opinion, simply has to be heard. This comes with the highest recommendation I can possibly give.

The EP can be streamed at Wreck and Reference's bandcamp page, from which you can download it for free. There is also the option to buy the physical copy, so if you do like it, please support them so they can keep putting out such great music.

Moonbeams - The Daisy Chain

All great shoegaze/dream pop boils down to an exercise in utter time distortion. This debut record from San Francisco indie outfit Moonbeams is no exception. Their particular brand of slow-motion pop with its psychedelic guitar and swirling percussion is an atmospheric delight. The lazy vocals have a rich, warm resonance that pours over each track just like honey. All of this culminates into an introspective sonic storm, the ebb and flow of which lulls this listener into a state of timelessness.

So what sets the Moonbeams apart? The right amount of fuzz on the needle. The lo-fi aspect isn't forced for the sake of it but genuine and natural. Despite the fact they're up there floating around in the clouds, you can't accuse them of being aimless. A good sense of balance and direction prevents this record from drifting too far and losing sight of the listener. The track order works, the titular song which comes four tracks in is a stand-out for me, as is 'Ultraviolet' around the middle and the final track 'Eternal Life' drives it home nicely. I have no major criticism of The Daisy Chain and I'm not going to burst this bubble with trivial nitpicking. It makes you reminisce for the likes of The Jesus and Mary Chain without drawing unfavorable comparisons.

The Daisy Chain will be released by Hop Skip Jump Records on the 17th of June.

stream the album here
download the album here

Balcony View - Balcony View

What happens when a trickster binges on ambient, drone and folk music and is then given a guitar and an instrument mic ? - Balcony View, that's who. Some of you may remember Trickster, a contributor on this fine blog in its formative stage, but unfortunately this fine specimen had to leave us, and actually became a real person, going to college and not really posting on the internet. Balcony view is proof that he's still Trickster deep down inside.

To quote the musician himself, 'everything's done using guitar and vox, recorded through an instrument mic i hooked up to my laptop, no synthesized shit'. This is pure ambient music, closely following the footsteps of one of S4D's favourites, Aidan Baker. Gentle ebb and flow on tracks like 'Skyscraper' are positioned alongside folky songs such as 'Cold Wind'. As Aidan Baker would put it, this is 'drone-folk' of the Scalpel variety.

The two long songs, 'Skyscraper' and 'The Coming Storm (And Its Aftermath)' are simply epic, with a wall of ambience enveloping the listener. What I love most about this as an ambient album is that it often strays from the generic ambient template. Listening to 'The Coming Storm...', one cannot miss the very bluesy guitar solo towards the end. It's something completely unexpected but sounds fucking great.

Ambient music is easy to make but it's difficult to make properly. Balcony View is easy to listen to and revels in its simplicity, but one can tell that thought and care has gone into its composition and arrangement. Trickster never leaves anything up to chance. Highly recommended.

download

Host - Demo 2011

No matter what style of music it may be, UK scenes have always eluded me. I know little about them other than 'big' bands and random underground groups that gain recognition due to being signed to a reputable label or just becoming 'known' on the blogosphere. But like any scene, I'm sure there are a 'host' of good bands being overwhelmed by a horde of shitty ones, but fortunately for me (and subsequently you) the band Host belong to the former.

From Leeds, this group play a form of dark and sludgy hardcore - the band themselves call it 'downbeat'. I'm not sure whether that's a British thing or if I've just not caught onto the term, but I don't really know what it is. Regardless, it sort of makes sense.

The three tracks on this demo clock in at a total of about 8 minutes, and it's ideal for constant replays. Faster-tempos morph in and out of crushing riffs with some really vicious and bitter vocals. I was told along with the submission that this is for fans of Cursed, Trap Them and Magrudergrind, but I'd also add Hatred Surge, Iron Lung and maybe even Dystopia to that list. There are probably lots of bands that sound a lot like this, but that doesn't mean anything to me because this demo is as visceral as it needs to be, and has me hooked.

If you've already figured out what this sounds like, you should be able to guess if you'll dig it or not. It's an amalgamation of two of my favourite genres, and it's done really well. Any fans of sludge or hardcore should check their demo out. I'm already waiting for new material.

host - demo 2011

Lycus - Demo 2011

Lycus were a completely random discovery, though I'm pretty glad I found them. The band formed a few years ago and after some gigs and a demo, disbanded in 09. So what do? Obviously move to San Francisco. Once relocating, Lycus was back to life, and now they've put out another demo, aptly titled Demo 2011, and it kicks a lot of arse.

In tagging this post I almost included 'funeral doom', but eventually decided against it. Lycus play death/doom, quite structured and heavy akin to certain European acts along the lines of Ataraxie or Ophis. Elements of melody exist, but not so much as to call them melodic death/doom.

The demo has three reasonably lengthy tracks and each of them are really captivating. There is zero meandering here, which is a sure sign of good doom. Another notable feature of the band is the vocals - the most guttural of gutturals, they weigh heavily on the atmosphere.

As a demo, this release is fantastic. It gets me wet even thinking about what Lycus' next record will be like. You can stream the demo from their bandcamp page, as well as download in your choice of FLAC or 320k mp3. I'm not entirely sure if there are physical copies available, but if you want to find out, you can email these delightful chaps at lycusdoom@gmail.com

Lycus bandcamp

Pharaoh - Pharaoh

Three piece sludge band Pharaoh from New Jersey, USA have kindly sent their self titled 7" in to S4D, and what a 7" it is. Two 5-something minute tracks make up this record, each of them toying around with sluggish tempos, bludgeoning riffs and vicious vocals. What I like most about Pharoah however is that while they retain their label of 'sludge' in every way, they bring an extra element of ferocity - not all of the sections of these two songs are simple down-tuned punishment.

At times the band will venture into almost crust-like territory with a slight hardcore edge. As anyone into sludge will know, there is a great deal of cross-over between the two, and this generally works out really fucking well. You know what this sounds a bit like? Dystopia. A little more sludge-based with slightly deeper vocals, but this is something along those lines. Anyone with a hard-on for Dystopia, or for similar bands like Sea of Deprivation, or pissed off crust bands like His Hero is Gone, or for the dirty fuzz of shit-kickers like Grief or Accept Death, then you will like this. In other words, if you've got a good taste in music, then Pharaoh is for you.

This 7" is available for purchase from A389 Records. Feel free to download it here. The band have stated that there is another record in the works for later in the year, so watch out for it.

Leucosis - Pulling Down The Sky

Well being no stranger to the current black metal greats that are sprouting up anywhere you can name in the United States I can pretty much say that the USBM scene is dominating at this very moment and you don't even know. Whether it be the cult phenomenon BTC (Black Twlight Circle) or all your favourites in the Cascadian Black Metal scene, or all your limited cassette demos you collect; it's for certain the US is on top. After all this you can only laugh at any subhuman brave enough to call out the current USBM scene. True Norweigan Black Metal.. more like True Californian Black Metal.

Leucosis hails from the sunny lands of Santa Cruz, CA; also sharing this place one of my current favourites Fell Voices and being told the two were very much similar right then and there I am sold. They both share an overwhelming amount of atmosphere and give such a relenting crush after every single riff has been inflicted upon you. The band being described as 'ambient black metal' may be a little unsuitable for me because when I think of ambient black metal I immediately think of bands like Xasthur, Leviathan, maybe some Darkspace. This is how i seperate my good from bad so Leucosis you can stay out of that category.

Immediately right after the 'Opening' has passed you are visously pulled into the massive title track. Distancing shrieks and howls are heard beneath crushing riffs that almost seem to fly from every direction. This formula continues throughout the album and at times get very overwhelming. Right after the crushing assault of 'Approaching Lucidity' you are quickly given a short breather into 'Intermission' then whirled into the calm soothing intro of 'Invention of the Monsters' but to soon find out you are back to where you started. 'Hymn to the Forest of Pixels' provides another breather for the listener as it prepares you the mammoth 'Incarceral Form'.

Being an hour something long album may be a big deal to you, but the way all the tracks are done and the little intro's and outro's provided everything perfectly works out. I found myself just in a trance half the time by their powerful blend of atmosphere and doom. It's one of the more impressive black metal albums i have heard this year being up there Ash Borer's latest output. It's another band you can gladly add to your list of current greats in the USBM scene.

download here

$5 at http://www.myspace.com/leucosis
or by contacting leucosis.band@gmail.com