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With roots in Texas, Eight Bells are a trio that now call Portland, Oregon home, and perhaps the new setting is fitting for what they do. Their brand of metal is along the lines of being progressive and experimental, doing the kind of things that you would not expect to hear on a metal album but by listening to it, you may hear other textures.
Melynda Jackson (guitars, contact mic, vocals), Haley Westeiner (bass, vocals), and Christopher VanHuffel (drummist) make up the band, and they will be releasing the 4-song album The Captain’s Daughter (Tartarus) in July. You may stream it in full over at Bandcamp, where you’ll also be able to pre-order the cassette version, which will be pressed in a limited edition of 100 copies.
Each tape will be packaged in a screen-printed black velvet pouch. Now have a listen.
The first thing that made me want to hear this was the illustration of a living and breathing being coming out of a plant. What would I be getting myself into if I listened? Botanist is a one-man band operation from San Francisco, and the concept of the album was so interesting, it convinced me to take a serious listen:
Combining lyrical creativity and musical ingenuity, IV: Mandragora is a concept record on the alchemical creation of a mandrake, and how The Botanist is instructed on raising an army of mandrakes to wipe out humanity. The songs of Botanist are told from the perspective of The Botanist, a crazed man of science who lives in self-imposed exile, as far away from Humanity and its crimes against Nature as possible. In his sanctuary of fantasy and wonder, which he calls the Verdant Realm, he surrounds himself with plants and flowers, finding solace in the company of the Natural world, and envisioning the destruction of man. There, seated upon his throne of Veltheimia, The Botanist awaits the day when humans will either die or kill each other off, which will allow plants to make the Earth green once again.
If anything, this takes Stevie Wonder’s Journey Through The Secret Life Of Planets to a muck darker and sinister level, twisting the concept of what plants are or perhaps a look into what they were before they were used and abused by humans. It’s quite unique, and the fact that it is a concept album, a metal one at that, is even more interesting. There are moments of the production where the sound quality seems a bit thin, but it’s nothing that a bit of EQ can’t fix.
IV: Mandragora was released by The Flenser.
Krallice released their album Dimensional Bleedthrough (which I reviewed here) last year, and would follow it up in less than a year with Diotima. For Krallice vinyl junkies, they’ve had to wait a little longer but the wait will be over, as Gilead Media will be releasing Diotima as a double LP. Copies will be shipped on or around September 20th, and you can pre-order your copy directly from Gilead Media by clicking to Gilead Media’s online store.
The vinyl will be released on 180g black vinyl, and only black. To make it even more interesting, record collectors will love the fact that the covers are being made with “tip-on” jackets, the old style of covers where the “slick” is pasted on the cardboard cover (for a visual example, click here.)
Pre-orders for the album are being taken now, and can be purchased two different ways:
1) The double LP as is
2) The double LP + a T-shirt
This T-shirt will only be available if you purchase the LP/shirt combo, it will not be sold separately. Take advantage of it while you can, and again, buy it directly from the Gilead Media’s online store.
Krallice call what they do “black metal”, but their music does not sound like the black metal I grew up on. Things are more in doom, it’s atmospheric, it’s still heavy but there’s a lightness within, or at least with these guys. In other words, Krallice aren’t a death metal band that sound like they’re from the 80′s, 90′s, or even the 00′s, this is a few steps higher than my accepted norm and I like what I hear. While Dimensional Bleedthrough was released on CD last year by Profound Lore, Gilead Media released it last month as a double vinyl (my copy on clear vinyl), so it was new to me.
The fact that this style of death metal is “advanced to me” doesn’t mean that it doesn’t take from the metal styles of the old, because the album actually begins in a way that sounds like NWOBHM. “Aridity” sounds like some of the best metal styles throughout the 80′s and 90′s, but in a progressive sense, at times an industrial sense. What I also like about this band, a trio, is that they go at it at marathon lengths, jumping out at you with vocals that can sometimes sound like screams but are more controlled and defined. Then they’ll go on these extended musical journeys that sound wonderful, but without getting lofty. Then in a song like “The Mountain” they just play furiously with walls of guitar and throaty vocals, it’s as if you’re hearing vocal cords rip, bleed, and ooze. Just as you want to get into the intensity, the song ends, but then you flip it to side three and you’re on another twisted metal adventure for 12 minutes. There’s a lot going on in these songs, so while you are able to bang your head at will, give this a serious listen by sitting through it, and you’ll hear levels of genius that will eventually put them amongst the metal greats.