Metal 467 Items

Coilguns' self-sufficient riffing engine ticks like a swiss watch. Right in the middle of their Millennials tour, the band has gathered enough time and life points to craft their loudest record to date. Locked all by themselves in a studio for a month - without a single note written prior to setting up their gear - they have put together an urgent and challenging suite of unpolished bursts. Watchwinders sums up the sheer pleasure of doing things the unusual way. These 12 songs are raw as noise and messy as punk though carefully organised in a daring and flawless sequence. Excessively low-tuned guitars, gnarly synths and excentric vocals are carried away by Luc Hess obsessive drumbeats.The whole functions as a complex and utopian mechanism of perpetual motion, an urgent and clever serie of sketches of how to merge good ideas into a fascinating mess.

Clear Vinyl. The debut album from British/Austrian Methodical Metallers, COGNIZANCE. "One of the best damn Technical Death Metal bands out there" - Metal Injection. Featuring guest appearances from past and present members of JOB FOR A COWBOY, EXTOL, ABORTED and THE FACELESS, Freshly signed to Prosthetic Records, COGNIZANCE have just put the finishing touches to their first full length release, Malignant Dominion, which will be released on September 6. Spread over two countries, the unconventional quartet have settled into a steady line up and revelled in a period rich with creativity. Undoubtedly COGNIZANCE share some of the same DNA of iconic death metal bands that have gone before them, and whilst their technical abilities add a more than impressive flourish they operate on a 'don't overcomplicate for the sake of overcomplicating' rule. Keeping theatrics to a minimum has yielded a lean, progressive, European extreme metal album that embodies the blueprint of old school death metal and embraces both melody and groove. A look at the lyric sheet offers blood-soaked echoes of those same pioneers of the genre, but rather than existing in a gore-laden fantasy world, COGNIZANCE find true horror in the everyday. Rooted very much in the real world, an abun64 of anatomically precise material has found its way into their lyrical cannon, as well as a healthy dose of philosophical reflection. The juxtaposition of modern life and living rubbing against the eternal, pure spirit of nature gives pause to think about the concepts of entropy and decay. Having always invited collaboration, Malignant Dominion continues the tradition with guest spots reserved for the likes of Job For A Cowboy's Jonny Davy, Extol's Ole Borud, and members/ex-members of Aborted and The Faceless. The self-recorded album was mixed by Audio Hammer's Jason Suecof (Deicide, The Black Dahlia Murder, Death Angel), who also found time to lay down a solo on Ether of the Void . The album artwork is by renowned musician, artist and tattooist, Jef Whitehead (Leviathan, Lurker of Chalice).

Tearing down the barriers of extreme metal limitations, Code have taken a daring plunge into the unknown following their urge for further unhampered expression, and have delivered a dynamic progressive post-rock album that is sure to cause a stir.

The ten year anniversary of Chaos Echœs' first ever release, celebrated as a limited edition vinyl reissue with enhanced artwork to homage and consecrate the origin of an unforgettable legacy that will never fade our memory's reach. With 2012's "Tone of Things to Come" Chaos Echœs instantly established themselves as the very future of underground extreme metal, elaborating a formula rooted in arcane sepulchral dark death metal characterized by lengthy instrumentals and innovative detours deep into remote areas of history, art, culture and lore that would dictate the rhythm and tempo of a staggering metamorphosis of ascension. Still rooted in the legacy of Incantation, Morbid Angel, and Immolation, at its inception "Tone of Things to Come" had however already revealed widespread mutations in the fabric of conventional extreme metal and opened the eye of transformation, with its omniscient glare gazing through a spectral veil concealing abhorrent forms of ritualism and exploration within it. Enigmatic minimalisms crafted from unconventional instrumentations and improvisational free-flowing jam sessions were an already well established means of transcendence and transmutation within this earliest form of the band, and "Tone of Things to Come"'s oracular load of experimentation was already foreboding musical changes in consciousness and perception on a massive scale lurking not too far away on the horizon. A would-be future for extreme metal which we all now too-well know, love, and will forever miss. There will never again be an entity quite like Chaos Echœs, one capable of opening worlds within the listener and which had become such a synonym of transformation and of the fearless defiance of dogmas and conventions. A beacon for metamorphosis and boundary-dissolvement bridging effortlessly the sidereal distances between performance art, world music, ritualism, and death metal, that would help cement thereafter the undeniable and manifested explorative genetics of extreme metal. And as the sands of time and the immortality of this legacy fixate the greatness and majesty of those who dare, burning them forever into our minds, "Tone of Things to Come" remains a reminder for all that great legacies are built on great transformations, and the courage that motivates them.

As with a choice few truly great bands, the first self-financed cassette recording by Cathedral - made available in October 1990 - was a pioneering underground masterpiece in its own right; the sound of a young band exploring its newfound chemistry, finding confident variations on a flawless list of influences and cultivating a sound and style that would prove hugely inspirational throughout the 1990s and beyond, being a major influence on everyone from Electric Wizard through to Reverend Bizarre.
Where most demos are little more than a dry run for the first album, "In Memoriam" still has its own distinct and important identity in the Cathedral canon. The debut LP that followed, "Forest Of Equilibrium", has a sombre, devout, melodic and mystical grandeur all of its own - but 'In Memoriam' has a far murkier, earthier, more deathly intent. Creepy, cryptic and bowel-looseningly heavy, it represents the first time that the doom metal stylings of Trouble, Saint Vitus, Pentagram and Witchfinder General had been rendered in a new, more extreme metallic form. At the beginning of the new decade, it was really only Cathedral who were proud to assert the influence of true doom metal - a perennially unfashionable genre, but especially in a turn-of-the-decade metal scene so obsessed with speed, technicality, brutality and modernity.

After more than three years of almost total silence cinematic black noise black metal merchant Caina returns with a deeply personal, chaotic and terrifying album entitled “Gentle Illness”, which is penned for a 01st Nov 2019 release via Apocalyptic Witchcraft Recordings. With lyrical themes ranging from the UK's lack of mental health provision to extraterrestrial psychics via demonic possession and the metaphysics of suicide, “Gentle Illness” is a comprehensive guide to the very real and very personal disintegration of its creator.

The next chapter in Japanese rock legends Boris' story has arrived; their new double LP LφVE & EVφL is set for release on October 4th via Third Man Records. This double LP exists as two independent works, encapsulating conflicting connotations that interweave and become intricately entangled with one another, gradually eroding before becoming utterly singular. Continuing to tinker and toil with their sound since the 2017 release of DEAR, Boris have pivoted onward a more organic, non-grid literary style that LφVE & EVφL showcases. The album's first single, ''Love,'' is one of the most musically diverse in their career and showcases a snippet of what is to come on LφVE & EVφL.