Mekigah are a solo-outfit (in the earliest days, it was a duo) by Vis Ortis, who has been helped once again by a whole horde of same-minded session musicians for this successor of 2014’s Litost, amongst whom Black Rhino / Serpent Pig’s Leith Carnie, who took care of production and mix of this album as well, Yippie Brain’s Thomas K.
The scene from India is not exactly where we refer to when thinking about Extreme Metal. When it comes to labels, my knowledge is limited to one hand full of labels worth mentioning (Metal Masala, Cyclopean Eye Productions, Tormented Whores Of Da’ath Records (unfortunately defunct) and, of course, mighty Transcending Obscurity Records (owned by the fantastic guy Kunal), are those who dwell within my memory [and collection]).
Some weeks ago, I came in touch with the very sympathetic Italian guy Raffaele Pezzella, who’s the very same guy behind the great project Sonologyst. In a (near) future, I will write and publish a review on their latest album Silencers, by the way, which is available via Cold Spring Records as from yesterday.
Well, this is some good ol’ stuff, dude… I do not know about you, but I couldn’t remember this band anymore. Angel Of Mercy were a band active during the eighties and early nineties. They hailed from Las Vegas, and I think they were popular in their regional environments, but not exactly outside the Nevada desert borders.
Last weekend I listened once again to Ectoplasm. Damn, it remains one of the best things within its genre. Then I realised that I did never write or publish a review on that album. Though, if I would have some end year’s list for 2016, this specific release would absolutely be part of my top-10 from that very same year. So, I was wondering: why not writing something about that album anyway?
I think it is a positive evolution: more and more women are starting their own Drone / Ambient / Experimental / Noise project. This can be solo - think ProtoU, Lamia Culta, Inwolves, Artefactum, Allseits, Lamia Vox, Halgrath and so on - or in a partnership (Martyria, Corona Barathri, Hymnambulae, Der Blaue Reiter a.o.).
My wife sometimes pretends that there’s something wrong with me, mentally, because of my muSICKal choices. Then I beat her up when playing Abruptum out loud, but actually she might be right. You know, I have never hidden my appreciation for Cody Maillet and his Cryostasium outfit, so that might be a proof of my dear wife’s statement, I guess.
Hailing from Belarus, Gnieu (which means ‘anger’ in their mother tongue) were formed about a decade ago. Throughout ten years of existence, the project (mainly a duo, consisting of Igar and Vietraslau) recorded two hands full of releases, amongst which some splits (with e.g. the sweeties of Lascowiec or Canadian two-man army Warforest), some EP’s and demos, and three full length albums: Kola Spradviecznaje (2008), U Vihurah Uśviedamleńnja Byćcja (2009) and Dein (2012).
The moniker Pimeydentuoja reeks of Finnish stench, and indeed this is a band from the Land of a Thousand Lakes, and more specific from the Vaasa-region at the Bothnian Gulf. The band was formed at the very end of last decade, and in 2012 drummer Fördärv aka Krig V.A., bass player / guitarist Iva aka They Agony, and choirboy / lyricist Herr Razer aka Dödfödd came up with their first official demo, Black Goat Psalm.
If I’m not mistaken, Kazemat hail from Switzerland. This experimental project released a couple of recordings via Spain’s Craneal Fracture Records, one of the most influential labels when it comes to Noise / Drone / Experimental Music.