Introspective, hideous, irresistible filth. It’s really hard to sit and write about how good the new Tomb Mold is, but it’s worth a try. …
Listen up all you Sludgy-Come-Latelys, cuz this is the real-deal, right here. Originally released in ’97, this split between Oakland OGs Noothgrush and everybody’s…
Hellbound’s writers compared notes on the top albums of 2013, and though we didn’t always agree, we did manage to identify some areas of collective appreciation. And so… (drum roll) Here are the best ten metal albums of 2013, according to Hellbound. (The math never lies!)
Hellbound Metal: “Another highly-anticipated album for yours truly, The White Goddessis the long-awaited follow-up to the German power-doom band’s 2010 debut, The Golden Bough. Mind you, crafting a record of such epic length takes time; although, at 58 minutes, it’s actually some seven shorter than its predecessor!”
Back again by popular demand!
You keep asking when it’s coming back, so here it is. Here is what the staff of Hellbound.ca has been enjoying during the months of July and August 2013.
On its surface, on a purely musical level, Reverence to Stone is a fantastic journey of ups and downs, rising to heights and crashing back down to earth, riding the waves and the winds of inner discovery. Add to that lyrics which can be interpreted in more than one way and you have an outstanding doom record itself worthy of reverence.
On April 25th, Swedish power metallers Sabaton touched down at Charlotte NC’s Tremont Music Hall as part of their current tour. Here is Hellbound contributor Justin Richardson’s recollection of the show.
All in all, this is a solid sludge album (EP?) best suited to those who lean a little more towards the death metal side of things.
The Endless Blockade took over with an electronic-noise enhanced set that was a bit more varied, and was arguably even more unrelenting. Their singer constantly confronted the crowd, moving as deep into the sweaty mass as he could. Keep in mind, there wasn’t much floor space to work with, and there was no stage. Just like a basement show, they were sandwiched next to the crowd who was standing on the same floor. Even this guy felt the need to constantly engage with me, running directly into me at least five times.
Why does everyone always pick on me?
Jay Gorania recaps his take on this year’s SXSW Music Festival. In this second entry, he reviews the Profound Lore Records/20 Buck Spin showcase as well as sets by The Atlas Moth, Rwake and Weedeater.
Like the rodents they are named after, The White Mice are an elusive target. Here are the known facts; the band is from Providence, R.I. They released the wonderfully twisted Ganjahovadose via 20 Buck Spin last year. They’ve recorded a slew of splits and EPs with titles like Mouse of Mendes and Do They Know It’s Christmice? Their symbol is a rodent’s face scrawled on a pentagram. The music? Bass, distortion pedal and drums with liberal electronic effects and samples where applicable. They’ve been categorized as industrial, noise, art rock and noisegrind. Perhaps a better description would be unclassifiable.