Jon Rosenthal – Invisible Oranges – The Metal Blog

Locrian’s “Chronoscapes” Views a Horrific Future (Video Debut)

Jon Rosenthal — Mon, 05 Feb 2024 14:45:00 +0000

Locrian are a many-tendriled beast. The formerly Chicago-based trio, having released a myriad of albums ranging from abstract guitar noise to krautrock-and-drone-informed metal, are poised to release their first “song-based” album since 2015’s Infinite Dissolution (compared to 2022’s New Catastrophism–an improvisation-guided, full-band drone and noise album). End Terrain is a high-concept, intense album, telling a very personal story of a dystopian future told through the eyes of a parent.

Pairing their immense musicianship–some of vocalist/synthesist Terence Hannum’s, guitarist André Foisy’s, and drummer/electronics performer Steven Hess’ most ambitious performances to date–with a book of art, stories, and even a bibliography (of invented future texts, very cool), End Terrain takes from each Locrian era. With influences dating back to Hannum and Foisy’s days as a duo (over fifteen years ago now, wow) and through their vast discography as a trio with Hess, End Terrain is a cumulation of ideas, sounds, and a decade-plus of camaraderie as now-displaced experimental musicians. The explosive album opener, “Chronoscapes,” leads End Terrain on an intense footing, with large riffs and expansive soundscapes carefully pieced together to craft something larger than life. When paired with an intense video, which can be viewed below, we join the Seer as they remotely view a horrific future of humanoid creatures destroying, well, everything.

Watch “Chronoscapes” below.

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End Terrain releases April 5th via Profound Lore Records.

The Two-Pronged Approach to Thief’s “Cinderland” (Video Debut)

Jon Rosenthal — Wed, 24 Jan 2024 14:00:00 +0000

It is immediately apparent that LA-based electronic rock band Thief are a bit outside of Invisible Oranges’ purview. With synthesized textures and percussion, pseudo-pop sensibilities, and, most importantly, infectious melodies, this project challenges the metal scene from whence they came; mastermind Dylan Neal is a Botanist expat, and yet Thief’s approach is completely unlike his previous act.

Thief’s new single “Cinderland,” from the upcoming album Bleed, Memory, can be dissected into two distinct pieces: 1) a driving, cinematic, and digital rock dissociation, and 2) doomed, synthetic plod. Starting off as a driving, captivating rock piece with unique beats, “Cinderland” suddenly explodes into something funereal, thick, and all-encompassing. In these two halves, Thief manifests as something different when compared to their Prophecy Productions labelmates, and “Cinderland,” whose video (featured below) features terrifying visuals from the classic Onibaba film, is as exciting as it is memorable. Listen to “Cinderland” below.

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From the artist:

“Cinderland” is a moody, industrial dark electronic banger about finding strength and meaning in the rubble of a troubled past. Manipulated sacred chant samples run throughout the track which climaxes in a triumphantly heavy doom metal catharsis woven in between a Greek Orthodox sermon.

In this music video, edited from the 1964 Japanese horror film Onibaba, our subjects are struggling to survive in their own Cinderland. The scared child deeply knows the fear that speaks, “What if my caretaker can’t take care of themselves?” But this realm of the Cinderland is reached through the path of individuation where everything is destroyed and the truth that nothing is ever as bad as the mind makes it out to be is discovered.

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Bleed, Memory releases April 19th via Prophecy Productions.

An Echo from Vision Eternel’s Heart (New Demo Track Debut)

Jon Rosenthal — Tue, 16 Jan 2024 15:00:00 +0000

Initially recorded in 2014 and intended for use as a score for a short film, “melogaze” project Vision Eternel‘s Echoes From Forgotten Hearts sat in relative obscurity on mastermind Alexander Julien’s Abridged Pause digital record label. Now, ten years later, an expanded version of Vision Eternel’s moody, instrumental guitar music is available thanks to Dutch label Geertruida, who co-released the For Farewell of Nostalgia EP in 2020. Featuring previously-thought-lost demo versions of Echoes From Forgotten Hearts tracks on a complementary second cassette, this new and lengthened edition shows this EP’s roots, as exemplified by a demo of “Pièce No. Trois,” which can be streamed below. Much like other Vision Eternel works, Alexander Julien captures a mundanity to nostalgia–something which can be experienced in the background while the rest of life moves onward–and the lower-fidelity approach on this now decade-old demo lends itself to Julien’s static emotionalism.

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Echoes From Forgotten Hearts releases February 24th via Geertruida on cassette and digital formats — pre-orders and pre-saves are open starting today, and anyone placing a pre-order is automatically entered into a giveaway for a cassette version of the band’s last EP, For Farewell of Nostalgia.

Vision Eternel adds the following information about Echoes From Forgotten Hearts:

The release contains 23 songs. In addition to the 7-song Extended Play Version, the release includes the unheard 6-song Soundtrack Version and 10 rare studio demos, outtakes, and alternate mixes. Carl Saff remastered all of the material at Saff Mastering. A new cover artwork was painted by Michael Koelsch at Koelsch Studios, and the release features additional paintings and photography by Rain Frances at Rain Frances Art. The Deluxe Compact Cassette Edition is split over two colored tapes in a factory-numbered boxed set. It comes with an exclusive postcard and an 80-page novella containing rare pictures and a detailed recounting of the extended play’s making, from its origin as a soundtrack, through its delays, cancellations, and limited releases over the years.

All pre-orders placed directly through Geertruida between now and February 13, 2024, are automatically entered into a giveaway for a free compact cassette of Vision Eternel’s previous extended play, For Farewell Of Nostalgia (also released by Geertruida). The winner’s free tape will ship bundled with Echoes From Forgotten Hearts in February 2024. The Deluxe Compact Cassette Edition can be pre-ordered from Geertruida’s website. Deluxe Digital Edition pre-saves are found here. Anyone purchasing a physical edition will automatically receive a free digital edition.

Ultima Thule Awaits Isenordal (Early Song Debut)

Jon Rosenthal — Thu, 11 Jan 2024 12:22:57 +0000

Isenordal first wowed me on their 2019 tour with Void Omnia, which was now over four years ago (hard to believe). This Pacific Northwest doom collective’s neofolk and black metal inspired funeral doom hymns brought the downstairs SubTerranean bar venue in Chicago to a hushed and reverent silence. Now ready to unveil their third album, titled Requiem for Eirênê, Isenordal reveals further depth of their already emotive and subdued blackened doom. “Await Me, Ultima Thule” is an exercise in beauty and pain, guided by dense melodicism, subterranean heaviness, and the furthest dynamic reaches made possible in metallic music. The music is gorgeous, but also tragic and mournful–the band’s musical lineage tracing back not only to the ’90s Romantic metal movement (largely championed by their home label Prophecy Productions), but also early music and crucial compositions from the Baroque era. In short, Isenordal makes wonderful music. Listen to “Await Me, Ultima Thule” below.

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From the band:

Determination to proceed, come what may, is the thought behind “Await Me, Ultima Thule.” Effort and action, even if misguided or ultimately doomed. Is it better to host foolish convictions, or a stagnating belief that all convictions are foolish?

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Requiem for Eirênê releases March 8th via Prophecy Productions.

Prepare The Ground Fest (31 May-2 June) Announces Full Lineup

Jon Rosenthal — Tue, 09 Jan 2024 16:50:51 +0000

Prepare the Ground is excited to share its final wave of artists joining our inaugural annual festival which includes Dead Tired, Body Void, Chained to the Bottom of the Ocean, Mat Ball, Unwell (Chris Colohan of Cursed / Burning Love solo debut), Drowse, Extinction A.D., Respire, Maggot Heart, Vyva Melinkolya, Tunic, North of America, Bleeding Out amongst others.

These artists join previously announced Orchid (reunion), Burning Love (reunion), Emma Ruth Rundle, 40 Watt Sun. Liturgy, Mike Scheidt (of Yob), Tomb Mold, KEN Mode, Dreamwell, Mares of Thrace, Marissa Nadler, Odonis Odonis, Planning for Burial, RAGANA (performing Desolation’s Flower), Sunrot, Terminal Nation, Thantifaxath, Uniform, Yellow Eyes (performing Immersion Trench Reverie), Forn, Tribunal, Vile Creature, and more.

Prepare the Ground is a new community focused arts & heavy music festival taking place May 31 – June 2, 2024 across multiple venues in Toronto, Ontario – the first of its kind in the city. The festival was founded by two lifelong friends, Denholm Whale of independent concert promoter Transmit Presents and KW Campol of music management company Mythos & the Perpetual Flame Ministries record label & art house.

Drawing inspiration from European festival stalwarts like Roadburn, Sonicboom, and Amplifest, Prepare the Ground is focused on heavy music as an ethos of collective catharsis more than a dedication to one specific metal subgenre. From burgeoning artists, to favorites you never thought would reunite, to one-off full album sets, a heavily curated and meticulously planned lineup is the festival’s key component.

SIngle day passes and lineups are now available as well as a small final allotment of Three day passes. In addition to those passes there are also 200 passes available solely for the Saturday, June 1 Orchid reunion show which allows a person to only go to that show.

Check out the full list of artists below the poster below….

Full list of artists playing Prepare the Ground:
ORCHID (reunion)
EMMA RUTH RUNDLE
BURNING LOVE (reunion / final show)
LITURGY
KONTRAVOID
40 WATT SUN (SOLO)
KEN MODE
MARISSA NADLER
DEAD TIRED
UNIFORM
PLANNING FOR BURIAL
ODONIS ODONIS
VILE CREATURE
PLACK BLAGUE
THANTIFAXATH
RAGANA (performing Desolation’s Flower)
YELLOW EYES (performing Immersion Trench Reverie)
THIS IS HELL
MIKE SCHEIDT (of Yob)
TOMB MOLD
BODY VOID
SUNROT
VOLUR
MARES OF THRACE
TRIBUNAL
CONCAVITY
DREAMWELL
OBROA-SKAI
JETSAM
WITCHING
TERMINAL NATION
VYVA MELINKOLYA
UNWELL (Chris Colohan of Cursed / Burning Love solo debut)
THEY GRIEVE
GREBER
DROWSE
SKIN
DEATH KNEEL
MOSS HARVEST
BOTFLY
HELLISH REBUKE
SEA
EXTINCTION A.D.
CINDER WELL
FORN
AMULETS
DISMAL AURA
MINUSCULE
DBOY
ADA ROOK
CHAINED TO THE BOTTOM OF THE OCEAN
RESPIRE
TUNIC
MAGGOT HEART
BLEEDING OUT
AMARIOR
NORTH OF AMERICA
SHREWD
MAT BALL

Important Links

Weekend Pass & Single Day DICE.FM
Official Website www.preparetheground.com
Instagram @preparethegroundtoronto
Twitter @ptgtoronto
Facebook @preparethegroundtoronto

Hasturian Vigil Destroys Pretenders With a Riff Onslaught (Early Song Debut)

Jon Rosenthal — Thu, 04 Jan 2024 15:11:06 +0000

I’ve made plenty of references to the metal side of black metal, but allow me to reiterate: the best black metal is metal first. You know, bands who were influenced by classic metal bands and early black metal rather than a game of telephone played by contemporaries. It’s important to remember your roots, and Irish black metal duo Hasturian Vigil certainly (and tastefully) pay homage to their influences on their debut: Unveiling the Brac’thal. With riffs that bludgeon, leads that cut, and a percussion section that pummels, songwriter and multi-instrumentalist Cxaathesz and drummer Shygthoth turn the dial back to a simpler time when bands like Mortuary Drape and Masters Hammer ruled the world and songwriting was most certainly king. Unveiling the Brac’thal‘s 33-minute length is dense and rife with ear-catching and violent black metal rather than the corpse-painted-turtles-all-the-way-down approach we hear in the majority of black metal today. In short: Hasturian Vigil rules in a classic way. Unveiling the Brac’thal sounds like a long-lost tape your cool uncle kept in a box in the closet, a relic from his salad days as a crop-topped hesher. Listen to an advance stream of the lengthy “Ikaath the Seven Horned” below.

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Unveiling the Brac'thal by Hasturian Vigil

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Unveiling the Brac’thal releases February 2nd via Invictus Productions.

Jon Rosenthal’s Top Albums of 2023

Jon Rosenthal — Wed, 20 Dec 2023 14:00:00 +0000

Every year I find myself simultaneously looking forward to and dreading the idea of this introduction. Drafts which are too personal, ideas which are too abstract. In the end, all I really want to do is express just how lucky I feel to live in the current era of music. There are people who say Oh, I was born in the wrong generation, but not me. The abundance of art to which we all have access, both from the past and the present, is overwhelming. As much as I try to listen to as much music as possible, it is simply a futile effort. Still, it’s important to try. Don’t get caught in the past and use some outside party’s definition of something that happened before their pontification as a means of limiting your definitions of art. Art is absolutely limitless, and the newer waves of creativity younger and newer artists bring to the table should be embraced (so long as it doesn’t hurt anyone). Gatekeeping, in and of itself, is a hindrance of creativity. Maybe I was raised differently, but the idea of having more of what you want sounds like a good thing. Aren’t you tired of listening to the fifteen thousandth Det som engang var carbon copy? I mean, kudos if you’re not, I guess, but I am restless and desire a wider universe of art. It’s important to have a w i d e f r a m e o f r e f e r e n c e when discussing music, anyway.

Anyway, you probably might want to know what I’m looking forward to next year. Well, the new Vemod is pretty spectacular, and there is a rumored record from Spectral Voice (which was confirmed after I initially wrote this and it’s very good). Chapel of Disease are back, and the new Volahn album should probably happen sometime in 2024. Spectral Lore (not to be confused with the aforementioned Spectral Voice) is finally, finally releasing IV next year, too. German death metal stalwarts Drowned are also releasing their first album in a decade, which is pretty neat. I composed the intro track for the upcoming Celestial Sword album, which is stellar, and on that topic I have a bunch of records coming out through various projects on a selection of labels. You’ll just have to keep your ear to the ground.

Oh, and I would be remiss if I didn’t include some fun demos released this year:

Behemoth – Unreleased Demo Album 1994 (Zombi Danz Records, Brazil)
Bogside Sniper Squadron – Demo 2023 (Independent, USA)
Boreas – Gnostic Chants from Sempiternal Void (Death Prayer Records, USA)
Fuinäehot – Secrets Of The Godhead (Forbidden Sonority, USA)]
Hekseblad – Promo MMXXIII (Independent, USA)
Mroczna Wieża – Mroczna Wieża (Forbidden Sonority, USA)
Nocturnal Effigy – Bloody Dusk (Independent, USA)
Oerheks – Landschapsanachronismen and Valkengebed (Babylon Doom Cult Records, Belgium)
Orlok’s Mourning – Embraced by the Light of a Vampyric Moon (Hammer and Flail Recordings, USA/Canada)
Púca – Demo (Moonworshipper Records, USA)

Now go on, champ! Go and get mad that I didn’t include something you liked in my list! You’ve earned it!

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Honorable Mentions:

20. Corrupted – Mushikeras (Independent, Japan/USA)
19. Laster – Andermans mijne (Prophecy Productions, Netherlands)
18. Krieg – Ruiner (Profound Lore Records, USA)
17. Mycorrhizae – The Great Filtration (Big Bovine Industries, USA)
16. Thantifaxath – Hive Mind Narcosis (Dark Descent Records, Canada)
15. Moonlight Sorcery – Horned Lord of the Thorned Castle (Avantgarde Music, Finland)
14. Malokarpatan – Vertumnus Caesar (Invictus Productions/The Ajna Offensive, Slovakia)
13. Majesties – Vast Reaches Unclaimed (20 Buck Spin, USA)
12. Woe – Legacies of Frailty (Independent/Vendetta Records, USA)
11. Lightbreaker– Annihilation of the Annealids (Independent, USA)

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Though I am a longtime El-Ahrairah fan, it took me a little longer to check out T.N.’s solo project for reasons still unknown to me. Featuring a beautiful fusion of Soviet Bloc-inspired black metal and krautrock-infused psychedelia, T.N.’s vision is at its clearest here. It might be a little difficult to find a copy of this album this late in the game, but it is imperative that you hear this thing on vinyl. A tape would be nice, too!

Listen here.

Oh, do I love Austere. I love them so much that I wrote a literal book on them. I missed this band a great deal, their last album (2009’s To Lay Like Old Ashes) remaining a steadfast inclusion in my listening habits in the years that followed their initial demise. Now back and, dare I say, more mature this time around, Austere’s desperate depression is more palatable and less unbridled. As Desolate and Sorrow have grown over the past fourteen years, so has their once-more-unified musical vision. Austere is “depressive black metal,” but in a more realistic and dismal sense rather than the self-destructive extremeness of the past. Corrosion of Hearts is still a stirring listen, however, and Austere pick up right where they left off.

Listen here.

I had high hopes for the Romantik I EP’s followup, and musician and songwriter Erech Leleth’s continuation of the Bergfried story is just as exciting, if not more, than what came before it. Bergfried are “traditional” in the sense that there are rocking riffs and sung vocals, and yet there is a lot more going on here. Dokken-esque sleaze, folk metal, black metal, and other influences collide in Romantik II‘s peculiar and infectious metal/rock hybrid traverses the musical landscape with a unique playfulness. Erech Leleth has proven through other projects like Ancient Mastery, Carathis, and Narzissus that he is a master of black metal, but Bergfried reveals that he was an ’80s metal nerd the entire time. Go ahead and revisit Carathis–tell me it isn’t ’80s guitar hero metal!

Listen here.

Lamp of Murmuur’s departure from the raw black metal world was an unexpected and unannounced one, and it left a lot of babies whining about “sounding like Immortal” or “not being the same.” The most exciting artists, my friends, try new things, and Lamp of Murmuur’s heavy/black metal approach on Saturnian Bloodstorm is by far the most exciting material M. has released to date. In an interview I conducted with him for Decibel Magazine, M. expressed a sense of accomplishment and ego concerning this release, having overcome many obstacles to get to this point, and the pride felt here is palpable.

Listen here.

Midlake’s The Courage of Others was an earlier foray of mine into the world of the “indie” offshoot world of folk rock rather than my more metal-oriented neofolk and neoclassical “folk” taste. That was, sadly, Midlake’s last album with singer Tim Smith, who chose to leave Midlake and start this band, Harp, in 2011. The most upsetting part of Harp’s birth was the loss of two years of Smith-fronted Midlake material–the band decided to simply abandon the work they’d done together and start again from scratch. Though Harp’s long-long awaited debut album Albion, having first been announced in 2015, has the occasional metaphysical nod to the material Smith left on the cutting room floor, this material is a definite departure from Midlake’s more American approach. With stylistic nods to the English folk revival movement, Albion is a subtle, warm album. Smith’s voice, a welcome return, is as smooth and soft as ever, and his ear for harmony is even stronger than the Midlake days. If it takes another twelve years for Smith to make another album like this, the time will have been worth it.

Listen here.

So, first off, RIP Urfaust! I remember listening to this band in high school, and it’s amazing how they’d followed me into my 30s. Nothing lasts forever, unfortunately! At least, and it is really to our benefit, Urfaust went out on an incredibly high note. Featuring some of their strongest material in a very long time, Untergang shows this Dutch duo at their most powerful and harrowing. Urfaust was always about that–power (well, that and getting very, very drunk)–and this final album, their very last statement as Urfaust, is a reminder that they will always be the best at their craft, even when they have left it.

Listen here.

Katatonia is probably my favorite active metal band. Yes, even the nu-rock stuff, and Sky Void of Stars is probably their strongest Jonas Renkse-written material–their frontman having taken over songwriting around the City Burials era. Renkse’s melodic pop sensibilities meld with the band’s overall heavy, proggy rock and metal stylings, making an album which is both immensely heavy and very, very catchy. “Opaline’”s hook has only two notes. Two notes!

Listen here.

I waited a long time for the followup to Miserere Luminis’ self-titled album, originally released in 2009. Initially conceived as a live concert project and collaboration between Quebecois black metal bands Gris and Sombres Forêts, I didn’t really expect anything to come from this band beyond this effort, but a semi-recent reformation as a live band gave me a little hope. Well, that and Neptune telling me about the album a year before Ordalie was released, but I digress. Though Ordalie is a black metal collaboration through and through, I hesitate to actually call Miserere Luminis a black metal band this time around. Leaning heavily into post-rock and post-metal, the lush and heavily orchestrated Ordalie is a sort of rebirth for these two sorely missed bands, who are generally known more for their presence in the black metal underground. By the way, when are either Sombres Forêts or Gris going to give us proper albums on their own? It’s only been a decade since we’ve heard new recorded material from either band (the Gris album topped my best of the 2010s list, so you must know how dead serious I am about this).

Listen here.

Another album for which I waited a long, long time. Finnish progressive folk band Tenhi’s last album, Saivo, was released in 2011, then… nothing! At least, until I interviewed member Tyko Saarikko in 2020, where he first made mention of the album that would become Valkama in his first public chat in years. The anticipation killed me. It really did. With such a drastic amount of time dedicated to one album made by a consistently incredible band, Valkama had to approach perfection. It just had to… and it does. Saarikko and bandmate Ilmari Issakainen’s approach to folk music (not quite neofolk like so many declare them to be) is tender and quiet, but heady and complex. Featuring Issakainen’s most complex drumming in years, Tenhi’s once-again mobile selves (when compared to Saivo‘s stillness) capitalizes on their newfound activity and makes what could be their finest album. Somewhere between Kauan‘s raw songwriting talent, Maaäet‘s verdant orchestration, and Airut:Aamujen‘s delicate touch, Tenhi’s Valkama is not only a survey of their most memorable moments, but an expansion upon them, as well. Tenhi spent a lengthy amount of time on this album, and it shows in this album’s more subtle moments. With quiet counter-melodies, interesting syncopations, and a general appreciation for the art of the groove, Valkama quickly entered my listening rotation and never left it.

Listen here.

Listen to our lengthy podcast interview with Saarikko and Issakainen here.

What’s that? Another eagerly awaited album? That’s right, “DHG” spent an eight year span crafting this album. Frontman Vicotnik’s songwriting acumen–taking songs from breakneck black metal to prog epics and electronic soundscapes with grace and thought–is at its strongest here. Songs can wander through disparate ends of the musical universe and guitarist/songwriter Yusaf “Vicotnik” Parvez twists them carefully so that they make sense together. Opener “Et Smelter” finds its way from guitar ambiance, through a sea of black metal, and finds itself closing as a progressive rock masterpiece. It really is compelling, full of “blink and you’ve missed it” transitions and the tiniest of details placed in exact spots for the most effective response. An avant-garde black metal album in the most classical sense of the genre, Black Medium Current is also an apex of it, as well. Featuring Vicotnik on vocals this time, replacing previous (and original) vocalist Aldrahn, we find a more varied and emotive performance, ranging from softly sung vocals to the harshest of shrieks, and a cornucopia of other sounds that pair with Black Medium Current‘s wacky, colorful void. Having been around for thirty years now, Dødheimsgard have rendered themselves inimitable in a sea of pretenders, crafting the perfect version of what was at one point referred to as “post-black metal.” Also, yes, this means this album is better than the one with Fenriz on it.

Listen here.

Listen to our lengthy podcast interview with Vicotnik here.

Dungeon Synth Artist Quest Master Announces 2024 US Tour (Tour Dates)

Jon Rosenthal — Fri, 15 Dec 2023 18:00:00 +0000

Australian dungeon synth artist Quest Master has announced his first US tour in March of 2024. Having released critically acclaimed albums in the dungeon synth community on labels the likes of Out of Season and Urge Records, Quest Master’s US live debuts will be events not to miss.

TOUR DATES

March 20 – Los Angeles
March 21/22 – Portland (March Into Fantasy)
March 23 – Seattle
March 24 – Chicago
March 25 – Pittsburgh
March 26 – Philadelphia
March 27 – NYC
March 29/30 – Worcester (Northeast Dungeon Siege)

Follow Quest Master on Bandcamp.

Unsouling’s (mem. Feral Light) Vampiric Metal Goes Goth (Early Song Debut)

Jon Rosenthal — Mon, 11 Dec 2023 14:36:19 +0000

Unsouling is a new band by Andy Schoengrund of Feral Light fame (among many, many other bands–Andy has been a busy guy over the past few decades). Taking the punky, crusty black metal sound Schoengrund champions with Feral Light, injecting a heavy death metal influence, and, most importantly, wrapping it in a gothic cloak, Unsouling is the vampiric answer to Schoengrund’s artistic oeuvre. With spooky melodies and keyboards oozing into any gaps, Unsouling’s impending Vampiric Spiritual Drain is a full listen, embodied by the song “The Ladder of Broken Backs,” which is streaming below. A rocking, but gloomy song, “The Ladder of Broken Backs” leans into Schoengrund’s gothic and vampiric influences, creating a lacy, but heavy sound.

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I, Voidhanger Records · UNSOULING – The Ladder Of Broken Backs

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Vampiric Spiritual Drain releases January 26th via I, Voidhanger Records.