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Sounds of the Underground #34

All corners of the world in this sounds of the underground with Skáphe from the USA/Iceland, Wildernessking from South Africa, Burial Dust from Bangladesh and Cadaver Eyes from Israel.

Skáphe – Skáphe²
Fallen Empire Records

source: bandcamp

I came across these guys, while doing a SoU about bands from Iceland. They were cool, but not Icelandic, so you get them now. Skáphe is a band from Philadelphia in the United States (partly Iceland too) and this album came out after Trump started rampaging across any sort of decency that you’d find. I guess it is what fuels their anger. The band sounds pretty much like they’re actually part of that Icelandic scene and are indeed part of the Vánagandr group, which in its own peculiar way is embrasing the nidrosian idea of pure, back to basics black metal. I feel that this is in large parts what you get when listening to their relentless record.

Think of early bands like Blasphemy and you get a similar, overwhelming and raw delivery. The sound in general is a roaring and thunderous one, with little subtlety. There is a slight bit of that tremolo guitar sound, you’ll find in the post black-metal bands now usually, but it’s used sparingly. Cacophonous sounds peep through the solid wall of sound now and then, offering you a glimpse into the swirling malestrom of madness behind it all. The whole recording seems to have done in a concrete storage hall or something, because there is no sense of subtlety or grace to the sound of these Americans. Only after the full album I checked its members: D.G. is known from his work with Misþyrming and Naðra (see this SoU#33) and Alex Poole, who did his thing in Krieg, Esoterica and Chaos Moon. Things make more sense to me now.

Wildernessking – Mystical Future
Sick Man Getting Sick Records

source: bandcamp

I had to check it twice myself, black metal from South-Africa? That seemed wild. Not because I don’t think it shouldn’t be played in Africa, but the relationship seems like one that is bound to face with troubles. Wildernessking has been around for a good while though. In 2012 they released their debut, but in 2010 the band formed under the moniker of Heathens. The range of topics is broad and obviously inspired by the countries own nature and sensibilities. The Cape Towners fill their music with progressive elements to create something unique.

Think Winterfylleth, but set in the wide stretches of land of South-Africa and with probably better weather. You can hear that sensation of sunrays in the warm and beaming feel of the riffs. Though intensely played and full of hard work, the sound feels languid, relaxed but also danger lurks. The bestial roar of Keenan Nathan Oakes rips through that languid mood with an urgency, while the riffs smoothly cascade onwards in a dramatic though doomy way. There’s a longing or lamenting in the music and voice that grip you. It’s that amazing sincerity that makes this feel so good.

Burial Dust – Oshubho Ahobaan

source: bandcamp

Bangladesh is starting to develop it’s very own black metal scene, with primitive, furious and quite convincing. The main theme appaers to be the ancient death cult and occult religions, but more than anything the denunciation of the false gods that rule our society. Reminds you of Norway some decades ago? Bands like this show that black metal has matured and found a deep rooting within counter culture and anti-religious thoughts with serious followers. Wether that’s a good thing, is not up to me to decide, but it lends a certain gravity to the expression in the music itself. The title translates as ‘Ominous call’.

Though the sound may come off as pretty lo-fi (necrosound!), it works in the favor of the band in the sense of aura and vibe. Blistering, crackling blasts and deep, unearthly gutteral vocals show the mixed ancestry in both the death and black scene, giving a similar feel to the band as the primitive origins of Mayhem and Darkthrone (maybe even a little of the more death orientated sounds of Von and Morbid). The attentive listener can detect some oriental influences in their sound, where the evocation of ancient Egyptian deities is no strange occurence. From the guitar crescendo’s to the unbidding chasm of the vocals, this is a powerful bit of dark magic.

Cadaver Eyes – Class Mammal
HCB Records

source: bandcamp

Sometimes you get these requests that sound just too intriguing to be ignored. This Israeli band claims to implement elements of doom, noise and experimental sounds into their product and that alone is quite peculiar. The sound that you experience when listening to it is even more weird and unsettling then you’d think. To give a bit of context, the band is a project more than anything, based in Jaffa, Jerusalem and New York. Bandmember Zax indicated in his e-mail that he also plays in  Lietterschpich and in Hyperion Ensemble, along with drone deity Stepehen O’Malley’. It should give you some context on what these guys are doing.

The line between fucked up noise and brilliance is a rather thin one, leaving a band to be often misunderstood. As one, I presume Chinese, site described Cadaver Eyes: “in these music there is nothing but amounts of buzzing”. Brilliant quote, but there’s much more to it. The base of the music is a drone that truly unsettles the listener, specially when David Opp (also Lietterschpich, Balata etc.) starts barking at the listener through a fog of distortion and rage. The drum patterns make little sense, giving you hardly any space to breathe and find a calm in the music. Though it lacks a certain sonic intensity, the experimental, fuzzy crackling of electronics gives no quarter. The record also has two cover-like tracks, one being ‘Acetone’ by Mudhoney. You can’t go wrong with Mudhoney, but for some listeners Cadaver Eyes might feel like you’ve really been walking down the wrong kind of alley.