In my opinion, there are bands you love, and then there are legitimately important bands. Often times, the two will not meet. You can enjoy a band, and if you’re a reasonable person, admit that they’re not genre luminaries or trendsetters. Most bands aren’t. There’s nothing wrong with that. For example; I love Mgla, but to argue that they’re much more than just another really proficient black metal band seems silly to me. They’re not. They’re just good at relying on tropes that others have created to great effect. Godflesh, on the other hand, is not just a band I love, but a band who actually shaped heavy music in the late 80s and early 90s. And now, they’ve returned, yet again, after the stellar “reunion record” 2014’s A World Lit Only By Fire. And with this return, made the most varied album of their career.
Weaving together elements of doom, drone, noise and sounds most unsettling, Gnaw create a unique sonic atmosphere that is soul-crushing and psychologically demanding. It would seem each of their releases gets more intense and outre than the last, with their third full-length effort, Cutting Pieces, sitting at the apex of this constant evolution. This 40-minute exercise in aural terror, which is now available through Translation Loss, is perfect for metalheads with masochistic tendencies.
Svbterranean recently caught up with three-fifths of the noise unit to discuss the new record, songwriting and more.
Photo by Samantha Marble
Long-running industrial drone/noise/electronics project Prurient (masterminded by Dominic Fernow), is celebrating its twentieth year and the forthcoming release of Rainbow Mirror in December is shaping up to be a doozy. The album, which boasts an insane three-hour run time, will be released on quadruple CD and a 7LP set. Holy shit.
Check out the latest offering from the album “Falling In The Water” below. It’s beautiful and haunting and I love it. CHECK IT. Continue Reading
New York noise metallers Gnaw return with the third chapter in their terrifying discography, Cutting Pieces.
Unifying former and current members of Khanate, Enos Slaughters, Insect Ark and other acts across the underground music spectrum, Gnaw deliver a twisted and outre sound that is anything but easy listening. Its twisted amalgam of noise, industrial and a myriad of other strange musical stylings gnaws into the listener’s psyche, as the band’s name suggests. It’s not easily digestible, but it is highly rewarding for extreme music fans with mashochistic tendencies. Continue Reading
Halloween is upon us; that glorious time of year in which low-budget horror films are viewed, copious amounts of horrid candy are consumed, and “edgy” kids decorate their rooms with goofy macabre decorations raided from Spirit Halloween stores across the nation. In preparation for this beloved holiday, we at Svbterranean have something special for you weirdos.
Presenting Razor Blades & Chocolate: a new digital compilation with a cheesy name that compiles noise, drone, darkwave, industrial, experimental and generally spooky-sounding acts. This 90 plus-minute mixtape is the perfect soundtrack to your own grisly murder or psychotic breakdown. Check out the compilation after the break via Bandcamp.
As usual, if you enjoy any of the artists featured on this compilation, please support them in any way you can.
Painting with shades of Kayo Dot (of which the band has ties to) at their most outré and the visceral noise of the late Khanate, and fueled by elements of classical music, free improvisation and a myriad of other unorthodox influences, Ehnahre compose otherworldly pieces that spit in the face of genre convention with a malicious grin.
Since the release of 2008’s The Man Closing Up this Boston-based avant-garde act has become increasingly harder to define, showing that the band would much rather inch towards utter strangeness and obscurity than stagnate creatively. The apex of this continual sonic evolution and glorious deviance of music as a whole, at least for now, is reached on their fifth full-length opus, The Marrow; a wholly unique and delightfully unsettling sonic vision.
CLOAKROOM have become the godfathers of their hybrid of emo stoner doom over the span of their 5-year career. Exceptional songwriting chops, time spent in cultishly followed bands, and a vocalist with a lilting tenor have all expedited this ascension. On their 2nd full-length Time Well they seem to manage to best their previous releases and also lay claim to a spot alongside contemporary greats.
Photo by Liz Ciavarella-Brenner
One-man experimental outfit Gridfailure
creates soundtracks to nightmares you hope you never have. Helmed by New York musician David Brenner, the ever-prolific project creates abstract, often haunting soundscapes that envelop listeners in their pervasive malevolence and offers no escape. With each new release, Brenner seems to pull more and more from the darkest recesses of his psyche, resulting in a project that rarely repeats itself.
Photo by Jason Larkin
Noise is a polarizing genre of music made with the most masochistic of individuals. Those who gravitate towards its unyielding abrasiveness are enthralled by its loose construction and walls of foreboding sound; things that could be torturous to others. It can truly be an assault on the senses, an assault that only the strong can withstand.
Twin Cities noise outfit The Blight‘s forthcoming LP, Meditations on Insignificance, is one of those aforementioned sensory assaults. Featuring five tracks of sprawling, improvised noise soundscapes, Meditations on Insignificance is not for the weak-willed. We at Svbterranean are excited to bring you an exclusive stream of this monstrous effort to help make your Tuesday a bit more eventful, and terrifying. Check out the record after the break.
Meditations on Insignificance will be released on July 28 via Tridroid Records. Pre-order here.
NYC’s White Suns continue to subvert genre conventions and deconstruct and subsequently reinvent themselves on their newest recording, Psychic Drift.
The noise duo’s previous two releases, Sinews (2012) and Totem (2014), were praised for their unrelenting abrasiveness and unorthodox compositions. Walls of harsh noise collide head-on with pummeling, erratic drumming and malformed, shrieking guitar riffs, creating a uncomfortable atmosphere designed to weed out the weak. Each release shows the band becoming more and more intense, while gradually moving in different sonic directions.