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Relentless total war on metal journalism.
Episodes
Thursday Sep 02, 2021
Thursday Sep 02, 2021
After a late upload last week we're back on track with an episode of bands both big and small, death and black, raw and polished, and all four records are excellent. This is a broad-spectrum episode with just about every type of release you can imagine, from small, independent black metal split to one of the biggest death metal records of the year- you're undoubtedly going to enjoy this one.
Rübezahl starts things off after TBMG's long running appreciation of the band, approximately 30 people recommending it to us, and TDMG randomly stumbling across it in the wild. Playing a rough-hewn, mountainous variety of pagan black metal, Rübezahl manages to bridge the gap between the classic, stadium-size bands of yesteryear with the detailed and evocative sounds of the black metal underground, making for a wonderfully well-rounded and powerful debut record. Fans of all things pagan and frostbitten, rejoice.
Following this is the return of Vietnamese melodic black/death band Elcrost, this time on a split with Australian post-black act Vixenta. Elcrost, who we featured last year, have been hard at work refining their sound, resulting in a wonderfully gothic slab of melodic black/death with elegant riffing and the oneiric atmosphere that has become a trademark. Vixenta doesn't disappoint either, with an unusual style of wistful post-black metal that draws more heavily from 90s alt rock than it does the conventional wells most others claim as influence. Then we play some Pumpkins just to prove ourselves.
After the break we return with the newest EP by Serpent Column. Powerfully rhythmic and nakedly melodic in equal parts, your hosts reflect on the lessons learned from last year's interview with the project and apply it to the new record. Drawing more heavily than ever before from technical and abstract hardcore, the project finds itself at a crossroads as a cycle of records closes. What's next? If this record is any indication, further greatness.
Wrapping up the evening is Nunslaughter's newest full-length, which sees the band making a definitive statement of presence and power in the wake of the passage of Jim Sadist into Valhalla. More savage, cruel, and resolute than ever before, Nunslaughter refines their sound in subtle but powerful ways, trading in some of their raucous garage punk stylings for the weight of midwestern hardcore, while paradoxically being more purely death metal than ever before. It's an excellent and gripping record, in every way a definitive tribute to the passing of one of Cleveland's greats. Rest in power, Jim- we'll all be dead in ten.
0:07:44 - Rübezahl - Remnants of Grief and Glory (Independent)
0:53:45 - Elcrost/Vixenta - Split (House of Ygra)
1:34:09 - Interlude - Smashing Pumpkins - “Mayonaise” fr. Siamese Dream (Virgin Records, 1993) (Buy it literally anywhere albums are sold)
1:39:55 - Serpent Column - Katartisis (Mystikaos)
2:10:26 - Nunslaughter - Red is the Color of Ripping Death (Hells Headbangers)
2:51:46 - Outro - Atomizer - “When I Die, I Wanna Die Violently” fr. The Only Weapon of Choice - 13 Odes to Power, Decimation, and Conquest (The Ajna Offensive, 2003) Long out of print physically, but strangely enough, available on Spotify.
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Tuesday Aug 31, 2021
Tuesday Aug 31, 2021
In a Terminus first, the Black Metal Guy interviews both sides of a recently reviewed split- that of Moulderyawn and Robes of Snow, two artists likely familiar to listeners as stalwart members of the Old Mill cohort helping to bring folk metal into a new era. TBMG sits down with Charlie Aldersop and Damian Winter for a conversation about black metal, paganism, and the hidden truths of nature beyond mere adoration of rocks and roots.
With good humor and equally good philosophy, both artists help to elucidate different views of nature throughout history, their own relationship with it, and how this continues to impact their music and other artistic pursuits. Fitting for the collaborative nature of their split release, both guests fill in and elaborate on each others' perspectives for one of our most well-rounded and intellectually stimulating interviews yet.
0:00:00 - Intro, history of Robes of Snow and Moulderyawn, post versus atmospheric black metal, discovering black metal
0:28:32 - The split and its narrative, sharing a drummer, further collaboration opportunities
1:00:34 - Interlude - Robes of Snow - "Woodsman's Walk" fr. When the Last Forest Has Died (Old Mill Productions, 2021)
1:10:16 - Video games as influence, the seasonal cycle and nature
1:33:48 - Paganism and nature's power, mythology, and their relation to music
2:11:28 - Outro - Amorphis - "Black Winter Day" fr. Tales From the Thousand Lakes (Relapse Records, 1994)
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Friday Aug 27, 2021
Friday Aug 27, 2021
Okay, here's the thing: recording this episode was grueling. Not because of the records but because of various technical issues which led to us wrapping up recording at 4 in the morning, which was just like hell, and not in the cool way. It gets a little weird and delirious. I'm still tired. I might be tired forever. Here's what you get:
Apparition of Sunlight is in part the sequel to Fin, one of TBMG's favorite USBM bands, and it doesn't disappoint. Their debut demo/EP/what have you is a brilliant if brief explosion of outlaw rock with a bunch of crazy guitar technique and a brilliant dual vocal performance and if you like this show you probably bought it already, but just in case you haven't, please do so now. You won't be disappointed.
Beastlurker plays melodic black/death that sounds like if Sacramentum was the soundtrack to a house party at the beginning of a teen slasher movie and it's very fun. It's self-aware, over the top, and extremely technically accomplished. Satan has the fastest motorcycle in the world and he wears extremely big sunglasses.
Ild exists to dissuade you of the notion that being a Norwegian peasant would be somehow cool or fun- it's music about being cold, tired, and concerned that you won't have enough bread to make it through winter. Like the record, our review is weird and wandering and offers more questions than it does answers. It's a bleak experience but one with a lot of depth that keeps you coming back for more.
8 Hour Animal is a weirdo mix of various industrial and noise styles and a good chunk of the review is just us figuring out how to describe it to an audience of metalheads. It's all over the map in extreme electronic music but mixes in just enough extreme metal structures and textures that it sometimes sounds like listening to Godflesh at quadruple speed in a wind tunnel, and if that doesn't sound inherently cool to you I don't know what you're even doing here.
0:00:00 - Intro/Terminus News
0:13:35 - Apparition of Sunlight - Wilt of Roses Crimson (Tour de Garde)
0:50:52 - Beastlurker - Celestial Henchwhores Aflame (Godz of War Productions)
1:36:19 - Interlude - Thy Primordial - “For Fires to Burn,” fr. At The World of Untrodden Wonder (Pulverised Records, 1999)
1:40:55 - Ild - Fandens lykteskjær (Screaming Skull Records)
2:22:38 - 8 Hour Animal - Resigner (Sentient Ruin)
3:04:33 - Outro - Atrax Morgue - Arphenia fr. Sickness Report (Release Entertainment, 1996)
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Thursday Aug 19, 2021
Thursday Aug 19, 2021
Prepare yourselves, Terminators, for an episode which undoubtedly features our highest CPM rating (Chugs Per Minute) yet! In a major departure from the usual, we've got more death than black today, which according to The Death Metal Guy means that we're looking at another 2 weeks of winter when it eventually rolls around. We've got oldschool Tampa worship, deathrash, brutal death- and, yeah, a weird stenchy black metal record because, c'mon, what show are you listening to again?
The festivities begin with Alchemy of Flesh, a one-man project worshipping at the altars of Morbid Angel and a few other Tampa legends, but not in the way you might think- the focus here is on the band's later work, with slithering midpaced riffs generating the exact sort of Cthonic atmosphere you've come to expect from Azagthoth. This isn't one-dimensional, though- Altars of Flesh brings labyrinthine song structures and an impressive array of rhythms and textures to the forefront, making for something that should grab the attention of any death metal fan whose interests reach beyond Stockholm.
Following this is another debut, this time from young Finnish deathrashers Controlled. Swathed in the aesthetics of a cutout bin gem from '96, this band fuses an array of early-mid 90s sounds into a melange both organic and potent. Instead of recreating a particular band's style, Controlled investigate the forgotten connective tissue between many niches now forgotten: the links between groove and death, Gothenburg and Tampa, and all points in between. It's as creative as it is direct, and will bring back childhood memories of buying albums simply because they had sick skeletons on them bro.
After our interlude is, ugh, another brutal death record! This time it's Cerebral Effusion, rising from a 7 year slumber with a record as cold and alienating as it is furious and technical. In a manner much like Suffocation taken to it's hideous logical conclusion, the band blasts, gurgles, and slams their way through 7 tracks of caustic and traditional brutal death geared toward those who prefer their death metal demanding and indecipherable. Unapproachable? Certainly. But listen carefully and patterns of technical excellence and anxious geometric structure begin to form.
Concluding the episode is yet ANOTHER debut, this time from Wyrtgurn, playing a brand of black metal that teases the brain with familiarity while resembling no one else in particular. This is The Black Metal Guy's opportunity to provide a guided tour through the narrow, twisting alleys of archaic stenchcore and its relation to extreme metal. Goblins two-step in a dungeon after an unsuccessful attempt to navigate the Moat of Eels. The sword is rusty, but that only makes its wounds that much more prone to infection.
0:00:00 - Intro
0:06:54 - Alchemy of Flesh - Ageless Abominations (Redefining Darkness)
0:48:43 - Connected - The Degeneration (Independent)
1:29:46 - Interlude - Armoured Angel - “Enigmatize” / “Carved in Sin,” fr. Mysterium (Id, 1994)
1:37:43 - Cerebral Effusion - Ominous Flesh Discipline (New Standard Elite)
2:09:29 - Wyrtgurn - A Legacy of Spite (Nebula Aeterna Productions)
2:56:57 - Outro - One Master - Infinite Void fr. The Quiet Eye of Eternity (Independent, 2009)
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Thursday Aug 12, 2021
Thursday Aug 12, 2021
Ladies and gentlemen (but really just gentlemen,) Terminus has finally arrived, at least for The Black Metal Guy. A new Graveland record has landed and TBMG has dressed himself in his finest furs just for the occasion despite the summer heat. This episode is an odd one- pagan mysticism, hermetic grumbling, and a double shot of the Holy Spirit makes for one of our strangest productions yet. This probably isn't a great episode to start with- this is all deep cut stuff from the bowels of Terminus. Wimps and posers leave the hall, etc.
The aforementioned Graveland record starts off the evening with a band. After a long semi-silence punctuated by re-recordings of older records, Rob Darken returns from an extended woodland photoshoot with a new crew of musicians pushing the traditional sound forward to new levels of intensity. Graveland's typical mode is galvanized here with more energy, more speed, and all the textural and harmonic depth you've come to expect from the band. And, of course, The Black Metal Guy's ultimate dream is finally fulfilled- he may retreat to the mountains now, his final goal accomplished.
But before he can trot off to parts unknown, he brings us the inaugural record by Níðstöng, an Icelandic project which unabashedly brands itself as Folkloric Necro Metal in the Ildjarn tradition. This is a short, punchy review for similar music- Níðstöng wastes no time with subtlety or delicacy, instead preferring to bludgeon the listener with all the ferocity of an ornery forest spirit. But how close is it to the source, really, and how can this ordinarily rigorous style be honed and expanded upon? We discuss and come up with a few possibilities.
Concluding the night is a sprawling excursion back into the gloomy yet ecstatic realm of Reverorum ib Malacht. Coming off last year's outstanding double record, the band now presents two full-length records released simultaneously, each exploring different sides of the band's core sound- black metal and electronic/industrial music. What follows is a wandering discussion of both the music and its greater themes: black metal as liturgical music, art as interior or exterior to the artist, and what exactly it means to be "black metal" in a world that seems to have forgotten the term's meaning. Like the music discussed, it's sprawling, challenging, and deliberately inaccessible, but hopefully you find it rewarding.
0:00 - Intro
0:06:00 - Graveland - Hour of Ragnarok (Inferna Profundus Records)
0:54:31 - Níðstöng - Essence of Eternity (Independent)
1:21:27 - Interlude - Bedřich Smetana - “No. 2, Vltava (Moldau),” fr. Má vlast (My Country); Polish National Radio Symphony Orchestra (Naxos, 1994)
1:34:41 - Reverorum ib Malacht - Svag i Döden (Ajna Offensive)
2:23:18 - Reverorum ib Malacht - Not Here (Rubeus Obex)
3:08:43 - Outro - John Tavener - “III. The Incarnation,” fr. The Protecting Veil / Wake Up… and Die; Yo-Yo Ma w/ the Baltimore Symphony Orchestra (Sony Classical, 1998)
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Friday Aug 06, 2021
Friday Aug 06, 2021
After a long period dwelling in the subterranean bowels of extreme metal, Terminus presents an episode of expansive, melodic black metal (and stuff that kind of sounds like it.) If you're tired of cavernous murk, this should be a refreshing bite of pickled ginger for you, with records that explore dense woodlands, airy mountaintops, and all points in between. And urbanized Japan, apparently.
Caverne's new record opens the episode, bludgeoning the listener with a style of melodic French black metal which is less chivalric and more primeval and barbaric. As the stomping strains of Burzum and Bilskirnir provide a martial rhythmic core, subtle and elegant melodies pierce the clouds, reflecting an era of French black metal seemingly forgotten until now. At once triumphant and thuggish, this is a must for all dedicated fans of the show.
Following this is the new split between Moulderyawn and Robes of Snow, each playing a variation on modern, folk-infused, forest-dwelling black metal. Moulderyawn returns from their first appearance on our show in 2020 with improved production, riffier songs, and a more focused vision, while Robes of Snow presents a vast and expansive take on a core of post-black ideas. Undoubtedly of interest to all those who enjoy ent and ent accessories.
गौतम बुद्ध (Gautama Buddha) is loathsome.
Wrapping up is the newest record by Swarrrm, a personal favorite of both hosts but only occasionally mentioned on the show. An evolution of grinding, metal-inflected Japanese screamo, Swarrrm goes so far down their personal rabbit hole that their genre is now nearly indescribable, with elements of powerfully overdriven 70s rock, emo, deathgrind, and God knows what else merging seamlessly into something striking, beautiful, and worthy of repeated listens. Don't be scared away by the description- you're gonna love this one.
0:00 - Intro featuring Bloody Cumshot
0:13:14 - Caverne - La fin de tous les chants (Résilience)
0:55:30 - Moulderyawn/Robes of Snow - When the Last Forest Has Died (Independent/Old Mill? Maybe?)
1:38:28 - Interlude - Gloosh - “Woodland Waltz,” fr. Sylvan Coven (out October 21, 2021 on Drevo Music)
1:46:54 - गौतम बुद्ध - पुनर्जन्म भाग १ (Gautama Buddha - Rebirth Part 1) (Independent) (And here's where all the text is "borrowed" from)
2:16:05 - Swarrrm - ゆめをみたの - I Dreamed… (Long Legs Long Arms Records)
3:15:17 - Outro - Confuse - all of the Spending Loud Night EP (Confuse Records, 1987)
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Thursday Jul 29, 2021
Thursday Jul 29, 2021
It's double episode day, boys! In addition to a sprawling interview with Lori Bravo of Nuclear Death is your regularly scheduled session of extreme metal discussion. This episode features four records with numerous crossing threads which will be familiar to regular listeners- the resurgence of cavernous black/death metal, the atavistic urges of primordial extreme metal, and the concept of songwriting sprawl vs. clearer organization. As usual we pride ourselves on our lack of approachability, and today's records will undoubtedly satisfy the tastes of anyone who wants their metal weird and monolithic.
Starting the session is the new EP by Denmark's Broder, a barbaric attack of primitive black/death metal from the Korpsand Circle. Broder resembles many things around the edges- war metal, Celtic Frost, primitive deathrash- but finds its own identity in its abstraction. This is a short record that punches far above its weight in sheer intensity and aggression, and is an absolutely essential listen for those whose favorite parts of extreme metal from when it was first slithering out of the primordial ooze.
On a completely different note is Luminous Veil, who perform a thoroughly eclectic style of... symphonic post-black with breakcore elements? Its constituent parts are as diverse as possible, but they add up to a whole with a distinct vision. Joyous explosions of arcing riffs, chiming synths, and hyperspeed drum machine theatrics make for a record which will undoubtedly be divisive, but likely exactly what a few people have been looking for their whole lives.
After our break comes two sides of the cavernous black/death coin. First up is Serpentrance, a Russian band who imbue the traditional sounds of Profanatica and Archgoat with a granite slab of minimal, crushing doomdeath. Other bands play; Serpentrance churns with a terrible weight and certainty which brings to mind some of the ugliest parts of modern doom and sludge. You know it's good when even the fast parts sound slow, like the band is struggling to complete a song while being waterboarded.
Concluding the evening's festivities is a listener submission. Thaumaturgy also plays a cavernous style of black/death/doom metal, but coming from a radically different direction, more interested in pointelistically etching out abstract, colorful riffs like a Jackson Pollock interpretation of Onward to Golgotha. It's abstract and vertiginous music more concerned with dizzying the listener than crushing them, but when the final car on the rollercoaster starts its descent, the G-forces equal that of any better known ride.
0:00 - Intro/Terminus News feat. Nuclear Death
0:13:42 - Broder - Det højes smed (Independent by Korpsand brothers)
0:52:56 - Luminous Veil - Vespers for the Loom and Lain (BMC Productions)
1:34:29 - Interlude - Tårne Spirer - “Mit vaesen forstummer,” fr. Varmblod (Instruments of Discipline, 2018)
1:43:15 - Serpentrance - Akra Tapeinosis (Godz ov War Productions)
2:22:02 - Thaumaturgy - Charnel Gnosis (Adirondack Black Mass)
3:02:09 - Outro - Witch Tomb - Crippled Messiah fr. Crippled Messiah (Die Todesrune Records, 2009)
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Thursday Jul 29, 2021
Thursday Jul 29, 2021
Terminus is proud to present an interview 17 years in the making. The Death Metal Guy sits down for an extended session with Lori Bravo of the immortal and still criminally underappreciated Nuclear Death, an early Arizona death metal band who demolished all comers in the extremity arms race before transforming into exquisite experimental music. Unlike nearly anything before or since, Nuclear Death represents one of the pinnacles of extreme music for its era: raw, brutal, eccentric, and imaginative, providing an inspiration for TDMG since he was but a young squire in extreme metal.
Tremendous ground is covered with Lori, starting with her current solo work before turning back the clock with an extended history of the band. Lori is open, honest, funny, and in possession of an esoteric knowledge of what it means to not merely make art, but to live it in the fullest sense. It's a weird, wandering conversation which touches on nearly everything imaginable before concluding with something very special.
In conspiracy with Lori Bravo herself, Terminus is proud to announce the release of the entire Nuclear Death catalog in digital form for the first time in history. With much of this material difficult to track down over the years, the band's incredible discography can now be obtained at Nuclear Death's posthumous Bandcamp page, with all records and demos now available for the modern audience. Check out the material and enjoy one of Terminus' wildest trips yet.
0:00 - Intro, Lori Bravo’s solo work
0:42:20 - Lori Bravo - “This Devil I’ll Allow (Southern Ruby Devil)” fr. Bare Bones (Independent, 2021)
0:51:30 - A history of Nuclear Death and beyond
2:57:56 - Outro - Nuclear Death - “Days of the Weak,” fr. ...For Our Dead… (Wild Rags Records, 1992)
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Thursday Jul 22, 2021
Thursday Jul 22, 2021
On a hot summer night in July of 2021, the dread lich Terminus rises from its grave again. Our break was a much needed one, but our addiction to painstaking discussion of extreme metal is one not so easily shaken by a touch of abstinence. Join us once again as we relapse into the worst of our habits with four new records from all corners of the metal scene. Did you miss us? No? That's okay I guess.
Lykhaeon cuts the ribbon on the podcast's grand re-opening ceremony with a style of murky, textural black/death metal that seems to be developing before our very eyes. Equal parts caverncore, orthodox, and oldschool Norse, Lykhaeon's style attempts to drag its ambient oddities and gauzy yet weighty production back towards the center via a judicious injection of traditional, incisive black metal riffing. We need a name for this: Post-Orthodox? Cavernblack? Either way, Lykhaeon establishes themselves as a standard bearer for this style, whatever its name might be.
It wouldn't be Terminus without a barrage of brutal death, and Anthropophagus Depravity provides exactly that. An Indonesian band surprisingly themed after Mayan religious atrocities, these guys work to create a new foundation for brutal death to build on. Blast beats and palm-muted 16th note runs? Check, of course, but there's also snatches of Ulcerate's watery dissonance and older Behemoth's vast and epic riffing. At once varied and utterly uncompromising, these upstarts present themselves as a force to be reckoned with in the new wave of brutal death.
After our break we tackle Hell Strike's debut EP, which presents a swirling combination of death, black, and thrash metal that may be familiar to those who have heard other bands attempting to reinvigorate the primordial ooze of proto extreme metal. Unlike many of those, though, Hell Strike approaches the challenge with an attack of razor-sharp tremolo riffing, propulsive thrash rhythms, and structural ideas lent from the most sophisticated ends of Swedish death metal. There's no thunking murk to be found here (not that there's anything wrong with that)- just a precise and rigorous attempt to recreate the style's roots in a new fashion.
Concluding our evening is the second full-length by Sarinvomit who wholeheartedly embrace a style of black metal now forgotten: that of Norsecore, most benighted of black metal's many spawn. There's blasting, angular riffing, and poisonous vocals, but also a wonderful sense of rhythmic play and a real passion for the days where black metal was still heavy and uncompromising. Are you tired of Finnblack, postblack, and any other "pretty" black metal? Here is your antidote. Not to be taken orally.
0:00 - Intro/Terminus News ft. Perceptions of Torment
0:10:28 - Lykhaeon - Opprobrium (Repose Records)*
0:52:37 - Anthropophagus Depravity - Apocalypto (Comatose Music)
1:31:36 - Interlude - Tiamat - “Whatever That Hurts” fr. Wildhoney (Century Media Records, 1994) (Available on all streaming services or in a batch of 20 at your local record store)
1:37:24 - Hell Strike - Hellstrike (Chaos Records)
2:16:16 - Sarinvomit - Awaken Ye Impious Hordes of Shaitan (Blasphemous Art Productions)
2:56:07 - Outro - Godslaying Hellblast - “Domination Hellfuck” fr. Bestial Laceration of Angelcunts (Hate & Murder Productions, 2011)
*CLARIFICATION: Death. Void. Terror. is a Helvetic Underground Committee project.
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Wednesday Jul 21, 2021
Wednesday Jul 21, 2021
For as long as I've known him, The Death Metal Guy has been threatening to compile the definitive history of an almost-totally-forgotten subgenre -- torture doom. A few months ago, he finally made good on those threats. In this special bonus episode, previously available only to Terminus Prime subscribers, I stand by as sounding-board and student, while TDMG talks me through the rapid rise and equally rapid fall of an insular scene he followed from within. What you'll get here isn't just a labyrinthine narrative about torture doom, but a spoken ikon of torture doom, the spirit of the music made present in words of sprawling scope and singular intent.
This is some of TDMG's finest work thus far, and certainly one of our most ambitious episodes. It's also our first foray into a new project: giving you the Terminus Alternate History of Extreme Metal in full, and building monuments for things that deserve to be remembered. TDMG is spearheading the effort, and we'll have more exciting news on that front in the coming week.
00:00 - Introduction
13:06 - Cruel progenitors - Abruptum / Black Mass of Absu / Woods of Belial
39:27 - Shadow of The Torturer - Wormphlegm / Stabat Mater / Khanate
01:12:27 - "A big year for torture doom" - Bunkur / Moss
01:42:18 - Return of The Torturer - Wormphlegm's full-length
01:53:26 - Latecomers, small projects, and other curiosities
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