APTORIAN DEMON have announced the details of their sophomore full-length Liv tar slutt (‘Life Ends’), which will be released on November 15, 2024.
The underground Norwegian black metal act from Trondheim also unleashes a first advance track taken from Liv tar slutt. The single ‘Når livet tar slutt’ (‘When Life Ends’) is available here:
AA
PTORIAN DEMON hail from Trondheim, Norway. They were founded by vocalist, guitarist and sole member Storhetsvanviddets Mester, who has also been known as Ghâsh.
APTORIAN DEMON embody black metal in its original bleak and raw form. Their mastermind is neither apologetic about this, nor about the hateful, misanthropic, and satanic content. This is what black metal is about. Storhetsvanviddets Mester is a lone wolf, who does not want to be associated with previous bands or the Nidrosian scene.
APTORIAN DEMON have previously released the EP Angst, jammer og fortvilelse in 2005 and the debut album Libertus (2012), which gained the band a dedicated following in the underground. Naturally, there are no social media outlets.
APTORIAN DEMON have deigned the time to be right for their sophomore full-length. Entitled Liv tar slutt (‘Life Ends’), this album keeps every ‘promise’ of a strong black metal statement made by the previous releases and will delight dark souls with its cold, harsh, and razor-edged songs. This is Norwegian black metal! Take it or leave it!
For those unfamiliar with ShitNoise, their bio describes them as ‘a noise punk band hailing from Monte-Carlo (Monaco). Formed in February 2022, the band has undergone several lineup changes. Currently, it consists of Aleksejs Macions on vocals and guitar, Vova Dictor on guitar, and Paul Albouy on drums.’ What’s more, they reckon their third album, I Cocked My Gun And Shot My Best Friend, ‘showcases their most energetic and mature work to date… Departing from their previous noise-centric style, the band blends grungy guitar riffs, metal-influenced double-kick drums, and a more polished production. The album explores themes of confronting the harsh realities of society and the lasting psychological impact of traumatic events. Through gritty soundscapes and stream-of-consciousness lyrics, it paints a raw portrait of present-day existence and the enduring human spirit in the face of adversity.’
I’m often wary of bands and artists who claim to have matured: all too often it means they’ve gone boring, that they’ve lost their fire and whatever rawness, naivete, edge, that made them stand out, drove them to make music in the first place. But these things are relative, and ShitNoise isn’t just a gimmicky moniker, but a fair summary of what they do. Here, they’ve stepped up from no-fi racket to lo-fi racket and evolved from the trashy punk din with dancey and electronic elements that at times sounded like a Girls Against Boys rehearsal recorded on a Dictaphone, toward a more wide-ranging and experimental approach to noisemaking. As for the album’s title… well. Was the act an accident, one of stupidity, gross negligence, or intentional? Either way, as the adage goes, with friends like these… ShitNoise are certainly not the friend of sensitive sensibilities, or eardrums.
So sure, they’ve ‘matured’ inasmuch as they’ve broadened their palette, but in doing so, they’ve discovered new ways of creating sonic torture.
‘Ho-Ho! (No More)’ launches the album with shards of shrill feedback and distortion: it’s two and a quarter minutes of nails-down-a-blackboard tinnitus-inducing frequencies and deranged yelping that’s somewhat reminiscent of early Whitehouse, minus the S&M / serial killer shit. Not that I have a fucking clue what they are on about, and the noise is so mangled it’s impossible to differentiate any of the sound sources from one another – guitars sound like screaming synths, and there’s so much dirty mess in the mix everything sounds so broken you begin to wonder if your speakers are knackered.
Proving just how much they’ve ‘matured’, ‘Brown Morning’ barrels into churning noise driven by thunderous beats as the backdrop to a rappy / spoken word piece, after which the arrival of the fairly straightforward punk tune ‘Gum Opera’ feels like not only light relief, but somewhat incongruous. But then, in the world of ShitNoise, anything goes, as long as it’s noisy shit. And keeping on with the noisy shit, there’s the gnarly Jesus Lizard meets Melvins gone rockabilly slugging sludgepunkfest of the oxymoronic ‘Pleasant Guff’ to go at, and it’s abundantly clear that they’re absolutely revelling in following their curiosity in every direction when it comes to exploring any and all avenues of racketmongering. I Cocked My Gun is wild, and wildly divergent, stupid, chaotic, and fun.
If the off-kilter grunge of ‘X-Ray Phantom’, with its incidental piano tinkling along behind crunchy guitars hints at something approaching a kind of sensitivity – and a closet ability to write songs – ‘Endless Void’ demonstrates their capacity to step back from noise completely, and venture into near-ambient territories, and with remarkable dexterity.
But mostly, these deviances only serve to bolster the impact of the manic racketmaking which dominates the album, which brings us to the epic penultimate track, ‘Hashish (The Yelling Song)’ – a ball-busting seven-and-a-half-minute stoner-doom slammer that slaloms its way through some heavy drone and some explosive psychotic episodes… and we’re immensely proud to be able to present an exclusive premier of the video which accompanies this mammoth slab of sonic derangement right here:
Get it in your lugs. Let it permeate every cell. Bask in the insanity. With I Cocked My Gun And Shot My Best Friend, ShitNoise have really gone out on a limb, and while teetering on a precipice of madness, have proved that artistic fulfilment lies on the other side of mania. It’s a far more enjoyable place than the everyday in which we find ourselves of late, so why not dive on in?
Portugal’s heavy hitters, Vaneno, have returned with a vengeance, unveiling the video for ‘Necropotent,’ the first single from their highly anticipated new album, Chaos, Hostility, Murder. This track marks the band’s first release since their 2020 offering, Struggle Through Absurdity, and it’s nastier, louder, heavier, and darker than anything they’ve done before.
“‘Necropotent’ is a caustic and maddening vision of a world that intertwines with our own. We all know who you are. The real necro lords who thrive in misery, pestilence, and chaos, forever feeding the abyss with the eternal rest of the fallen.” Says the band. This powerful and unsettling message is matched by the song’s crushing riffs and relentless rhythms, delivering an intense auditory experience that will leave listeners reeling.
Watch the video here:
AA
The upcoming album, Chaos, Hostility, Murder, was mixed and mastered by Pedro Mau at SinWav Audio, who also worked on the band’s debut EP. The album is set to be released through Raging Planet Records, further solidifying Vaneno’s place as one of the most promising Portuguese metal bands of today.
Vaneno’s journey began in 2017 when three friends — Miguel Nunes (drums), Eduardo Cunha (guitar), and António Tavares (guitar) — started jamming together, laying the foundation for what would become their distinct sludge-infused sound. By late 2019, the band expanded to a five-piece with the addition of Pedro Fernandes on bass and Alexandre Fernandes on vocals, marking a turning point in their commitment to bringing their music to the masses.
Since then, the band has undergone a lineup change, with Eduardo Cunha stepping down and Felipe Peraboa taking over on guitar.
Their previous release, Struggle Through Absurdity, showcased four powerful tracks that blend sludge, stoner, and death metal influences, creating an aggressive sound full of heavy, muscular riffs and pummeling rhythms. Vaneno’s raw, unrelenting style continues to evolve, and Chaos, Hostility, Murder promises to take their music to even greater heights.
‘The Witness’ is the first video released from Love Spells , the debut album from Death Doula, a dusky Art-Rock band hailing from Portland, Oregon. The new album was recorded at Jackpot Studios by Adam Lee (Built to Spill, Sleater-Kinney) and mixed by Bob Cheek, (Deftones, Band of Horses). It’s being released as a digital download and via streaming platforms by Death Doula Records on October 11.
Check the video here:
AA
Kerry Jones had a crush on his best friend. Kyle List didn’t mind, he asked her to come collaborate at his tiny home studio anyway. By the end of the night, they were in love and had created a demo of ‘Disembark’, which would be lead single from Love Spells. Three weeks later, he moved to Portland to live with her, with no plan beyond an intuition that the music would take them somewhere.
Fast forwarding two years later, they recruited the veteran rhythm section of Keith Vidal on bass (Marjorie Faire, Nyles Lannon) and Adam Kozie on drums (Pollens, Crystal Beth) and adopted the name Death Doula. The music they’ve created shows their shared love of artists like Can, Television, Jeff Buckley, The Cranberries, Deerhunter, Kate Bush, The Sundays and Deftones, while remaining altogether sonically new.
After having their lives dramatically reshaped during the pandemic, the members of Death Doula approach music with an intensity that can only come from having spent a lifetime wanting it. Kerry and Kyle have an 11 year age difference. Keith and Kyle have a 22 year age difference. Each member pours their lifetime of experience into performances that place emotion and groove first.
“In a world so algorithmized it’s numb,” says Kerry “we just want to make people feel something again.”
RAT LORD, the Norwegian trio known for their ferocious energy and tongue-in-cheek approach, is back with a brand-new single, ‘Now Diabetical’.
“If you dig the idea of grindcore and powerviolence while poking fun at black metal, Rat Lord is gonna be your new favorite band,” says Decibel scribe Addison Herron-Wheeler about this unorthodox Norwegian act.
Following the success of their debut album This Is Not A Record, Rat Lord returns with the brilliantly titled Blazed In The Northern Sky. The band—comprising guitarist/vocalist Yngve Andersen, drummer Sigurd Haakaas (both from Blood Command), and bassist Martine Green—continues to push boundaries with their unique blend of powerviolence and grindcore.
The full album is set to drop on August 30th via Loyal Blood Records, but you can get an early taste of the chaos with the new track ‘Now Diabetical’ here:
The band comments: “‘Now Diabetical’ is a song about eating healthy, so you don’t catch diabetes type 2, which is a big problem for some. The title may or may not be making fun of Satyricon’s ‘Now Diabolical.’”
The follow-up to the band’s 2022 debut album This Is Not A Record, sees RAT LORD churning out the same gritty and destructive powerviolence/grind sound that received strong praise from various publications along their humorous lyrical content, this time parodying some of the most famous songs and events from the Norwegian Black Metal history, the album title for instance clearly nods at Darkthrone’s A Blaze in the Northern Sky.
Bill Leeb is the Vancouver-based musician and mastermind behind electro-industrial scene mainstays Front Line Assembly and ambient-pop duo Delerium, as well as a key member of recording projects that include Noise Unit, Intermix and Cyberaktif.
Model Kollapse marks the first solo venture by this sonic chameleon and creative trailblazer since the mid-80s days of Front Line Assembly, when Leeb began making recordings in his bedroom and released them on limited edition cassette format. Almost four decades on, his new album was recorded and produced in Vancouver, Toronto and Los Angeles with assistance from production duo Dream Bullet and long-term recording cohort Rhys Fulber, plus regular mixing engineer Greg Reely.
The song ‘Demons’ has been released today as the second single from the album, with Leeb stating that the EBM styled track is a comment on “how much darkness and evil exist in the world, some of it created via technology that is here to stay, and how we have to carefully navigate our way through it all on a day-to-day basis.”
‘Demons’ follows the introductory single ‘Terror Forms’, featuring Shannon Hemmett of the group ACTORS, who are also based in Leeb’s home city.
Los Angeles – based dark electronic band, SLEEK TEETH have just unveiled ‘Endless’ from their forthcoming EP due out in October, 2024.
‘Endless’ is a danceable, darkwave offering with an anthemic chorus. The lyrics explore the unpredictable paths we sometimes find ourselves on as well as the rewards and perils of letting go of expectations and embracing uncertainty.
Shining, the latest full-length album from the Finnish Death Doom Pioneers Swallow The Sun, will be available via Century Media Records on Oct 18th. The powerful and very heavy new track of transformation and rebirth, ‘What I Have Become’ will take you through personal hell and back. The new record is produced and mixed by Dan Lancaster (Bring Me the Horizon, Muse, Enter Shikari, etc.), mastered by Tony Lindgren (Fascination Street Studios) and recorded by Juho Räihä at SoundSpiral Audio, except vocals recorded by Dan Lancaster.
Watch the video now:
AA
Juha Raivio comments on the new song: “‘What I Have Become’ is about that moment when you look yourself deep in the eye from the mirror and your own eyes start to tell what your soul have become instead of what you always wanted it to be. The hardest thing is to forgive yourself and break that circle”.
Juha Raivio adds on Shining: “After our last album it soon became clear to me that writing another Moonflowers album will kill me. So, I made a quiet wish to myself that if there ever will be any new music then please have a little bit of mercy on yourself rather than be that infinite black hole that will suck out the rest of your remaining light and soul just for the sake of it. Musically this album shines like a glacier diamond and has that power and punch that feels like a kick in your face! While lyrically the album deals how fearing life will eventually kill you and how melancholy can become your God.
We want to thank all the support and trust from Century Media, not to mention our insanely talented producer Dan Lancaster having the balls and guts to jump straight in the deep end with this band and get us out from our comfort zone. This album truly feels like a sunrise in the night sky”.
Renowned singer, musician, activist, and cultural icon Mari Boine shares her newest single, ‘Lean dás’. This captivating track is a unique collaboration with Norwegian-Sámi band ISÁK & the band’s vocalist Ella Marie. The artists bring their rich musical backgrounds to the track, infusing it with a profound sense of authenticity and passion. The track is taken from Mari’s full-length Alva, scheduled for release on the 6th of September 2024 via By Norse Music.
Mari shares her insights on the new single:"It can be difficult to maintain hope in these dark times, but to surrender hope is to lose our will to action, to render ourselves powerless. One reason I love "Lean dás (I Am Always Here)" is because it shines with hope. In this duet with my dear friend Ella Marie, we joik (summon) the Universal Mother, Divine Source, Giver of Life, Creative Force."
Ella Marie from ISÁK comments: "It truly is a dream come true to be featured on Mari’s new album. I have listened to her music as long as I can remember, and she is the greatest role model I have ever had. To now call her my friend and collaborator feels very special, and me and the rest of the band ISÁK are so honored that she wanted to merge her own song with our song, "Mun Lean dás", for this unique release. Singing it in the studio with Mari present was not only a magical experience, but also a master class in how she conveys emotions through her art. I am truly grateful for this experience."
Check it here:
Mari Boine Live 2024 and 2025 15-08 Bodø – Torsdag i Parken [tickets] 12-09 Elverum – Elverum Kulturhus SOLD OUT 14-09 Jessheim – Ullensaker kulturhus SOLD OUT 20-09 Kristiansund – Kulturfabrikken [tickets] 21-09 Sunndalsøra – Sunndalsøra Kulturhus [tickets] 22-09 Molde – Bjornsonhuset [tickets] 26-09 Førde – Førdehuset [tickets] 27-09 Sandane – Trivselshagen [tickets] 28-09 Geiranger – Festspela [tickets] 03-10 Sandnes – Sandnes Kulturhus [tickets] 04-10 Bryne – Storstova [tickets] 10-10 Strand – Kino [tickets] 11-10 Suldal – Kulturhuset i Suldal [tickets] 12-10 Sauda – Sauda Kulturhus [tickets] 20-10 Oslo – Den Norske Opera & Ballett SOLD OUT 01-11 Mandal – Buen Kulturhus [tickets] 02-11 Asker – Asker kulturhus SOLD OUT 03-11 Larvik – Bølgen Kulturhus [tickets] 08-11 Steinkjer – Hilmarfestivalen [tickets] 09-11 Oppdal – Oppdal Kulturhus [tickets] 15-11 Zürch, Switzerland – Volkshaus [tickets] 20-11 Kongsvinger – Radhus-Teatret [tickets] 21-11 Lier – Lier kulturscene [tickets] 22-11 Moss – Verket Scene [tickets]
San Diego-based alternative rockers Los Saints have released a new visualizer for the single ‘Hard’ off their recently released debut album Certified, out now ENCI Records.
Watch the video here:
AA
Art opens a window into the soul. It doubles as a haven for all of our most intimate thoughts, desires, and emotions. Like splashing paint on a canvas, Los Saints pour all of their experiences and feelings into a vibrant mosaic of indie, alternative, and rock. They piece together memories and mantras in the form of gauzy melodies, fuzzy guitars, and dusty rhythmic grooves. Co-founded by cousins Angel Mariscal [vocals, guitar] and Emiliano Garcia [drums], as well as mutual friend Gianluca Exposito [guitar], who has since parted ways with the band, the group have quietly buzzed out of the sleepy border town of Chula Vista, CA with sold out shows and acclaim from the likes of San Diego Union Tribune, Remezcla, Alternative Press, and more.
Now, Los Saints sharpen their distinct and dynamic signature style on their full-length debut LP, Certified.
“Los Saints isn’t just a band for me,” proclaims Angel. “It’s everything. It’s all I can do. That goes for the other guys too. The more we know ourselves, the more we know what our band is and are able to define our sound. Certified is who we are not just as musicians, but as people.”
Growing up in a Mexican-American family, he immersed himself in music. His mom hailed from Tijuana, and his dad grew up in the United States. Classic rap boomed through the house as he eventually gravitated towards Mac Miller and his “lifelong biggest influence” Cage The Elephant. In 2019, he formed Los Saints with Emiliano, envisioning “music almost everyone from any background can vibe with.”
In honor of their heritage, the group chose the moniker Los Saints.
“We were thinking of the Day of the Dead in Mexico, and its primary representation is a skull,” he goes on. “We needed to make it our own, so we turned it into ‘Spanglish’ by choosing ‘Los Saints’. Like the music, it’s a mixture.”
Los Saints initially gained traction with the Welcome To Confusion EP in 2022. The Honey Pop christened them “your next indie obsession,” while San Diego Union Tribune pondered, “Could Los Saints be Chula Vista’s version of Cage the Elephant?” Building on this momentum, the three-piece hit the studio with producer Keith Cooper (Dear Boy) and brought ‘Certified’ to life during sessions at Wildflower Recordings in L.A. The first single and opener “Faded” hinges on a bold bass line and a punchy drum groove. Guitars glow beneath a hazy and hypnotic vocal plea, “I don’t want you to look at me when you’re faded?”
On “Never Said,” a loose chime-y riff pierces a disco-style beat as falsetto rings out on the refrain.
“I’m not a dating app kind of dude,” he admits. “I’m a cave dweller, but I think so many kids my age can identify with these experiences of modern dating. On the first half of the song, you’re going into online dating with genuine intentions and looking for something true. The second half is the aftermath where reality hits, and your view changes. You realize all that glitters isn’t gold.”
Evocative of yet another dynamic, glitchy keys wrap around breezy acoustic guitar on the somberly nostalgic “If Everything Goes.” He sighs, “Don’t call me back, even though I’d like you to.”
“I was beating myself up for the way I am and how it affects romantic relationships,” he continues. “This person left your life, but you can’t help but blame yourself. Even though it was going to happen either way, you just think you’re the problem.”
Elsewhere, “Doctor” conjures “dark imagery of being interrogated like in a movie” via breathy lyrics and an off-kilter soundscape. Then, there’s “Hard.” Raw emotion seeps through the cracks in the vocals as thick distortion buoys the hook, “Help me see again who you are.”
“It’s about how being in a toxic situation—either romantically or with friends—has affected me and brought me down,” he states.
The title track culminates on a chantable chorus awash in shoegaze distortion. Stretching to a soaring climax, it evokes the feeling of “being isolated because you’re in a relationship that your friends and family don’t approve of.”
In the end, Los Saints bring the kind of emotion that bonds us together to the surface.
“When you listen to us, I hope you find our art to be a place of comfort,” Mariscal leaves off. “Sometimes, I cry when I write. I’m always trying to come up with songs you can connect to so you don’t feel alone. The world is a tough place. We can be friends one way or another.”
