Clandestine Cuts Vol. 12 Issue #11 - Awesome New Demos and EPs
|Written by:||nikarg, musclassia, Starvynth, AndyMetalFreak|
Clandestine Cuts Volume 12, Issue #11
The Metal Storm Demo/EP Spotlight
Brand New Independent Metal Lives Here.
Welcome to the Clandestine Cuts!
Welcome to the Clandestine Cuts!
Is independent, unsigned, and underground metal what you seek? Weary traveller of the metal world, rest here a while. Clandestine Cuts are the best demos and EPs from these bands, the heart and soul of metal music. These musicians are slaves to their passions, and their blood keeps the metal machine alive and turning. Support them with a simple listen, and discover the future.
Metal Storm users: you can vote in the poll below to choose your favourite demo/EP of the issue. The winners each year are nominated in our annual Metal Storm Awards so exercise your rights: this is the one category chosen completely by YOU the readers. Make sure your favourite independent metal is recognized each year!
(Think your band has what it takes to be featured in the Cuts? Email firstname.lastname@example.org to submit your music.)
In case you're new at this, go back and enjoy our last few issues:
Clandestine Cuts Vol. 12 #10
Clandestine Cuts Vol. 12 #9
Clandestine Cuts Vol. 12 #8
And now to the new music...
Thvnderhead - Furthur (UK)
[Progressive Metal | Post-Metal]
As much as I aspire to be the greatest metal musician to pass through Oxford University’s science faculties, some of my former colleagues have laid down their first claim to that crown. That scientific background can be heard in the music, most notably through the use of brain cell recordings as one of the many augmenting sounds layered into “Furthur”, the project’s debut release (other sounds include chants, synths and, of course, the Indian elephant bell). However, it is the core of the music here that really sells it, and as to what that is, Thvnderhead announce themselves as an instrumental prog band that incorporate influences from stoner metal (particularly in riff tones) and post-metal, with the song structure mirroring the dynamic contrasts and flow that characterize the latter style. Between the ominous, slow-building psychedelic introduction, the crunching riffs, and the insidious closing minutes, “Furthur” (nominally inspired by Ken Kesey’s bus) takes listeners on an atmospheric and rewarding journey, one that is primed to appeal to those that enjoy groups such as Sunnata and Yuri Gagarin.
Lividus - Tetany (USA)
[Blackened / Melodic Death Metal | Progressive Metal]
This is some really out there stuff, and a case of “I came for the cover art, but stayed for the music”. Lividus from Portland, Oregon is a band that requires about four genre tags to describe their music. Tetany is black metal and melodic death metal combined, but also characterized by progressive and experimental songwriting, and an overarching epic and sinister atmosphere. There is a bit of shredding involved, and the thrashy riffs and the riveting melodies will be carved into your mind, but, in my opinion, the real standout feature of this release is the extremely versatile and dynamic female vocals. I know that all of the above may sound like a sonic salad with ingredients that don’t mix well together, but -believe me- they do. If you are into Hammers Of Misfortune and Ænigmatum at the same time, make sure you check this one out.
Hyper Psychic - Deeper Psychosis (USA)
[Death Metal | Hardcore | Crust]
So here we have the manic, newly formed band from Los Angeles, Hyper Psychic, with their appropriately titled debut Deeper Psychosis. Now believe me, you're in for one hell of a wild ride with this release, as the music they've created here is literally just as manic as the cover art itself, portrayed to us by the band's very own Dan Bones. It's almost impossible to pinpoint an exact genre for this bizarre contraption, but let's say it's definitely hardcore at heart, although you will certainly hear elements of blackened crust, thrash, and even death metal throughout these insanely aggressive five tracks. Simply put, this release is a wall of unrelenting noise mixed with incredible feedback sounds in its structure, whilst vocalist Molly Scarpine clearly conveys a great deal of anguish and despair to us through her aggressively convincing vocal performance. Understandably this won't be to everyone's taste, I can be sure of that, but for those looking for something outrageous, particularly with influences of hardcore, then this album may well please you.
Euphrosyne - Keres (Greece)
Clocking in at just shy of 30 minutes, Keres is at the opposite end of the Clandestine Cuts release length range to Thvnderhead’s Furthur, but Greece’s Euphrosyne use all of those 30 minutes to show just why they are a band that you need to keep your eye on going forward. They’re classed as post-black metal, basically because there’s nothing more obvious to label them as; there are shrieked vocals, tremolo’d riffs and blasting drums, but there’s plenty more beyond that. At the one end, there’s some dense, venomous low-end riffs boldened by emphatic drumming, but at the other end, the melodic inclinations of Euphrosyne are far more compelling than the usual blackgaze delicacy. The clean vocal sections across the album, but particularly in “Pale Days” and “When My Fear Conquers All”, are incredibly powerful and well-crafted, vocalist Efi Eva backing up her hellish extreme vocals with an excellent clean singing voice. There is depth, variety, intelligence and conviction in this record; there are bands you occasionally encounter in Clandestine Cuts that are producing early-career demos and EPs of a calibre that makes future success seem inevitable, and with Keres, Euphrosyne are definitely one of those bands.
FLTH - Philosophy Of The Decadence (Netherlands)
FLTH hail from Eindhoven and the three-track demo Philosophy Of The Decadence is the band's first release - that's pretty much the only information the internet can provide. Describing the project's music is even more difficult than finding anything about the band member(s), as a truly fitting comparison to a well-known band is hard to draw. Sure, at times FLTH sound like a rawer, more straightforward version of Mgła, albeit without the dominant cymbal use that is so typical of the Polish outfit's distinctive sound, but that is, admittedly, not really an apt analogy. However, the lack of direct comparability is certainly not a shortcoming, rather, it's an indication that FLTH have managed to create something of their own that only briefly, if at all, reminds of the music of other artists. Part of what distinguishes FLTH from similar bands is the distorted vocals that sound like someone spent the very last few hours in the life of an old discarded cassette recorder yelling into the microphone in anger and disgust until everything but the tape crumbled to dust. What also sets FLTH apart from many other bands in the genre is the fact that despite the raw and uncouth aggression, they are capable of writing really awesome, catchy songs, doling out riffs like there's no tomorrow. Bottom line: you don't have to know all the letters of the alphabet to play flthy black metal, four letters are more than enough.
Thrumm - Neon Dead (USA)
[Stoner / Doom Metal]
Thrumm is a new band from Atlanta, Georgia that blends all the phases that Black Sabbath have been through, in the course of a 4-song EP. I have never come across a band mixing so well the Birmingham legends’ stoner doom style, power doom style, and even their hard rock style in a single release. Neon Dead is full of groove and nasty riffs, and the clean vocals are a real treat. Vocalist Sean Shields reminds me of Tony Martin, Dio, and even Glenn Hughes, depending on which line of which song I am listening to. The production is great; it’s very organic, with enough grit, yet warm and inviting. Songwriting and performances are both higher level stuff, and the replayability of Neon Dead is undeniable, especially for those who kiss the ground Tony Iommi walks on (myself included).
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