French label Dooweet Agency was started about four years ago by Christophe Sousa, in mean time joined by two (beautiful, but that’s another story) women to take care of promotion and consultancy activities. The label pretends to allow ‘artists from the underground music scene […] to promote themselves […] around the ethic and active passion of its members’. I cannot but praise the idea, the intention, the persuasion, the conviction, the passion; let’s be sure about that!
I did never dislike the international Death Industrial scene, but it isn’t but fair to say that the Swedish scene must be one of the most convincing, influential and prominent ones. One of the (many) artists known within this specific genre is Fredrik Djurfeldt, known from the outfit Knös (with material on Malignant Records too) (or active with Electro-project Severe Illusion as well, to be correct).
UK-based act Popeyes Rapestation (being founding member Steve Strode and Rob Woodcock; both of them are in Fret! too) return with III: Abe Lincoln Nonce Hunter, once again paying tribute to our favourite hero, Popeye. Actually, our favourite sailor man seems to be quite an arrogant being with sadistic intentions and sarcastic ideas. Or is this album a tribute to the B.B.C. and slavery?
I have to admit that I like about everything done by Dutchman Maurice ‘Mories’ de Jong. Especially his Gnaw Their Tongues solo-outfit caresses my ear drums time after time (check out the review on L’arrivée de la Terne Mort Triomphante on the update of November 26th 2010 within the ‘Archive’ section, or the one for Per Flagellum Sanguemque, Tenebras Veneramus, which was uploaded on January 6th 2013).
You know, I rather prefer an instrumental band than an act with a bad vocalist, and you know, there are quite some instrumental bands or projects that are quite impressive, not needing any vocal support. One of those is Belgium-based act SardoniS, a duo (Jelle Stevens and Roel Paulussen) that was quite silent for a couple of years.
About three years after their debut Psymbolic, Australia’s Lustration torture mankind once again, this time under the banner of Jesus Bethlemitus Maledictus. With the knowledge that ‘essentially, Earth is a lost cause’ (and who am I to argue / disargue [I know this word does not exist – until now!]), the four-piece did record this sophomore album at their home city’s MKH Studio (Brisbane, for your interest), with mix and mastering done at Temple Of Spinecode Studio.
Since I do not see the point to write an extensive introduction about this cult-band, I just leave you with this: formed almost 2 ½ decades ago, hailing from the city of Bergen (Norway), and creators of some excellent, as well as some disappointing releases before. Anyway, I’m pretty sure you know them, or at least you’ve heard about them.
Di Indomito Incanto is the first solo-effort, I think, by Italian guy Carlo De Filippo, whom some amongst you might know from the Neo-Folk duo Oniric. The (digital) album turns out to be a thirteen-tracker that was produced by the German label SkullLine.
In the North-West of Pennsylvania there’s a city called Erie. Erie, the word, does not differ that much from ‘eerie’, and that’s not always a coincidence. Please welcome Abjection Ritual, and take notice of the small difference in between Erie and eerie – for eerie indeed is what this Erie-based project brings!
Old Man Of The Desert are an outfit by the very young Russian guy (actually he hails from the capital city Moscow) Alex ‘S.A.’. He started this project in 2013 when he was sixteen years of age, but in mean time there were quite some demonstrational recordings, as well as two split-contributions. He records everything himself in his home studio, by the way.
