From time to time, a band comes along that completely blows everything else out of the water, and the last few months have been packed with incredible surprises, like Septaria (review coming soon) and this astonishing band from Iceland, simply called Múr. Their self-titled debut album is a masterpiece that demands attention. 

 The record kicks off with the epic "Eldhaf," a nine-minute journey that showcases the band's ability to craft grandiose, melodic post-metal. But it doesn’t stop there—Mur effortlessly transitions into fierce, relentless death metal, at times evoking the intensity and complexity of Gojira. 

This momentum carries through into the next track, "Frelsari," which delivers crushing riffs and hard-hitting rhythms, further redefining what we can expect from modern metal. Elsewhere, "Messa" dives into electronic elements, creating a vicious blend of Strapping Young Lad’s chaotic energy and Gojira’s precision. 

Then, "Heimsslit" sees the band returning to their post-metal moments, weaving spacious and contemplative atmospheres that add depth and contrast to the album’s already dynamic sound. 

The closing track, and personal highlight, "Holskefla" delivers more punch than an enraged bull. It begins with a subtle, melodic guitar intro, luring the listener into a false sense of calm before erupting into massive, bone-crushing riffs, played with a precise, almost militaristic rhythm that commands attention. This track alone proves Múr’s unrelenting force and musical prowess. 

 Snatched up by Century Media, Múr is an album brimming with potential—a testament to a band that’s not just making waves but destined for even greater things. Their unique blend of intensity, complexity, and sheer power is bound to elevate them to the next level in the metal scene. (8/10)

Jason Hicks

Band info: https://www.facebook.com/mur.official.band

Label info: https://www.centurymedia.com

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Bearing in mind the image encapsulating this album, a slightly gothic looking skeletal (?) butterfly against a wintery tree backdrop, one could easily pass it by. Though the merest sliver of curiosity might remain. It was this modicum of interest which resulted in me hitting play. Dropping any preconceived notions, I mentally prepared for what was to follow.

"Cruel Words" commences on a post-rock note with "Mine to Break"; a cavalcade of dreamy high chords. However, if there's any track which begs to be ‘stuck with’, it's this one. The rhythm unhurriedly builds in pace accompanied by a passionate voice and an unhurried guitar. And then, abruptly, it's as if the sky falls. The passionate voice amps up in emotion and the aura is that of palpable frustration, anger, grief (draped in pitch black). In short, a fantastic opening which heightens the senses leaving one crushed though especially eager for more. I wasn’t prepared in the slightest.

The second track, "Pain is a Wasteland", smothers the still quivering psyche with a loving caress. Though there's an unmistakable menace lurking beneath the surface, a feeling that at any moment a storm will break the sun's warmth. It does, though not with the same fury the first track exhibited. This is more a slow-burn with a structure much like a nagging migraine which builds to staggering intensity. Fans of Neurosis (and the like) should have their interest perked at this juncture.

The album continues to batter the senses with the utilization (and excellent manipulation) of synth, piano, guitars and a voice overflowing with emotion and range, a combination resulting in an exquisite and definite delicate balance of calm, melancholy and the transition to its direct opposite; a heaviness, a dirge/sludge presence akin to trudging through molten lava.

Staggeringly the quality of this album remains extremely high throughout even though a few tracks dip into double digit lengths it somehow still manages to hold the listener in thrall. Standouts include the opener as well "Dead Butterflies". With a haunting aura which brings to mind Danny Boyle epics such as "Sunshine" and "28 Days Later" there's little doubt that Déha (it is at this point that I should mention this is the artists name, the genius solely responsible for this) could well place cinematic audiences on the edges of their seats if he had such the desire. The album also contains a cover; a re-envisioning of "Saturnine" by The Gathering. However, for the ultimate Déha (goosebump) experience the acoustic reprise of "Mine to Break" is a must listen.

In conclusion, if you've never heard of, or even seen, a Déha album, now is your chance. Understandably, one may have reservations upon audio bursting at the seams with synth attributes, post-rock and sludge sensibilities with an atmosphere as thick as heard here. Drop them and dive in! For the mastery contained herein is perilously close to a religious experience. (9.8/10) 

Cult

Band info: https://www.facebook.com/burningworldrecords
Label info: https://www.facebook.com/dehamusic

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French post-metal group Dirge have recently released an EP titled “Alma | Baltica”, which sees the band moving away from the monolithic heaviness of their early works to explore more ambient and atmospheric sounds. Yet as guitarist Stéphane L. explains in the following interview, “Alma | Baltica” is just an experimental release and their forthcoming new album planned for later this year will see the band going back to their usual heavy and riff-based post-metal.

Your previous album represented what many consider a gem of “post-metal” music, the new release Alma | Baltica though is very atmospheric and built on massive and ambient soundscapes. What inspired that change? Was there a conscious effort to break away from genre standards?

‘Before we go any further, and since there seems to be some confusion about the real nature of Alma | Baltica, you have to know that this is a totally “off” project. This means that, while still being Dirge's music, A | B represents more a creative break in our career, something like an experimental project (full of ideas and themes that wouldn't really fit in a more regular album), but in no way should be seen as a totally new artistic path. Even though we strive hard with each of our albums to remain as creative and audacious as possible, the purpose with Alma | Baltica was to dig further certain atmospheres and structures, trying another kind of liberty. But this EP cannot be considered as an album. So there was no real effort to break anything from any genre...’

So you could say “Alma | Baltica” is more an experimental release, not exactly the direction you want to explore in the future?

‘We've just finished the recordings of our brand new “real” album and I can tell you it has very few formal connections with Alma | Baltica. We have spent something like two years writing all the new materials, but this creative period was less about experimenting atmospheres and sounds than it was about working on how to reinvent what Dirge is all about in its rock structured formula.’

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...Even though we strive hard with each of our albums to remain as creative and audacious as possible, the purpose with Alma | Baltica was to dig further certain atmospheres and structures, trying another kind of liberty...

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Tell us a bit more about Alma | Baltica. What was the writing and recording process like for this release, the end result can be attributed to a team effort or did any member take the role of principal songwriter?

‘I'd say it was pretty much a team effort but mostly driven by Marc and myself. It was quite different from the writing process on our “regular” albums and there was a lot of experimentation etc, so the primitive matter came as a personal effort. Then it turned into a collective work at the very end of the process.’

How would you describe the overall mood of the album?

‘Floating and roving, wide open spaces and tiny cells, textured dreams and foggy reality, all of these ideas, feelings infused this EP.’

Your music’s very atmospheric. Do you feel like there's an ideal setting for people to listen to it?

‘I guess that the best setting for properly dive into A | B is the same as for all demanding and immersive music: being emotionally “available”. A good headphone is cool too. And vinyl even better!’

When you’re performing live shows, how does the atmosphere of the music translate? Are there things you can and can’t do in a live setting?

‘The five tracks from Alma | Baltic haven't been created with a view of a live execution so I can't tell. These works were designed to be frozen on a recording, which is another big difference with our albums, where songs continue their existence on stage. But to answer your question about the rendition of atmospheres in concerts, let's say it flows naturally from the songs themselves and from the DNA of our own sound. This is the combination of both that allow us to recreate the studio work on stage but in a more visceral, wild and vivid way (recreating the exact same copy of our records would be pointless). Assuming, of course, that no technical problems interact and parasite the whole thing.’

If you had to pick one song from your discography to introduce your band to a new listener, which song would it be?

‘It is a hard question because an obvious lack of objectivity and perspectives... But if I had to introduce Dirge's old school work (well, not the first era but let's say the 2000's albums), I would choose a track like “Epicentre” from Wings Of Lead Over Dormant Seas (2007); it represents the more experimental, organic, progressive and extreme aspect of our music (very long and crushing pieces, sonic corrosion, blighty atmospheres...). And concerning the last albums, I'd pick “Hyperion Under Glass” or “Morphée Rouge” for the more melodic, ethereal and melancholic curves that embodies the most our music today.’

Finally, what’s next for Dirge?

‘As I told you earlier, our seventh album will be released (surely on Debemur Morti again) after this summer. We're also working on a French/Spanish tour for September/October together with fellow Throane and Ovtrenoir.’

More info at: https://www.facebook.com/DIRGE.fr
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By this point learned metalheads shouldn't have to be told that Tombs are a top-shelf act. Their coming out party, 2011's Path of Totality, was even named Decibel Magazine's Album of the Year. The NY quartet carry over the qualities that lead to that album's critical success on their latest transmission of darkness, Savage Gold.

For this release mainman Mike Hill (vocals/guitars) is once again joined by drummer extraordinaire Andrew Hernandez as well as newcomers Ben Brand (bass, ex-Woe) and Flourishing guitarist Garrett Bussanick. Despite the member turnover this unit perform as a potent force.

The lyrical themes of Path carry over to Savage Gold as well. Unlike much typical black metal there's no mention of any cloven-hoofed worship, no admonishment of belief systems and no revelling in the glory of nature. Hill focuses more on darkness and death. His vocals may be beastly and muscularly dynamic but nearly always discernible.

His ruminations are deep and philosophical; the product of a mind that never idles. A general feeling is that of acceptance to death's inevitability, yet there is still a fear of succumbing to its clutches. Heavy topics sure, but as David Gold (Woods of Ypres), whatever-you-believe-in rest his soul, said, “Only death is real.”

Hill's thought provoking words are delicate on paper but betrayed by the fierce savagery with which he delivers them. Such existential musing must be accompanied by equally dark music and the multi-layered black metal Tombs excel at is plenty dark. Their sonic palette consists of shades of black but Savage Gold is painted with rich, emotional textures. Scorching black metal blasts play a big part but as much as tunnelling through the depths draws the listener in, it's the moments where Tombs slacken the pace and open up that really cut to the core. It's like seeing through the savagery and blind rage of a razorbacked beast to the tortured soul that lies within.

Hill's gruff and gravelly bellows and rasps express torment over painful melodies on “Seance”. The track works in an almost sludgy vibe but also some of the best windswept tremolos and punishing blasts on the album. Each shift in tempo and mood is met with the same sense of importance and awe.

That's just one example of how well Tombs are able to play with dynamics. Cascading melodies create atmosphere. Hypnotic brooding dulls the senses. Death metal sensibilities crush the skull. Pulverizing chaos, lumbering gait, serpentine movements and mesmerizing guitar interplay blur the edges of reality.

Savage Gold coils around the listener like the tempting serpent. The grip of the experimental blackness is inescapably deadly. It's a captivating album that beats you senseless one moment and carries you among the clouds the next. It's powerful, chilling, exhausting, encapsulating and irresistible. Among the wealth of excellent bands releasing albums this year, Tombs will once again shine amongst the brightest.

Matt Hinch

Band info: www.facebook.com/TombsBklyn
Label info: www.relapse.com

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.

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Coming in April from Halo of Flies (U.S.), Zegema Beach (Canada) and I Corrupt/Narshardaa (Europe) is a screaming good split 7” between Marburg, Germany's Amber and Cleveland's Locktender. This is the first new material to be released by Amber since recruiting new vocalist Julian and coincides with Locktender's new full length, Rodin. And Scratch the Surface has it streaming for your previewing pleasure.

Amber contributes “Heritage”, an emotionally charged and dark tune reflective of their post-hardcore lineage. It almost broods while Julian's desperate roar tears through anguish and apocalypse. The riffs are relentless and pounding, that fourth beat like a punch in the gut. Melodies soar between the peaks on the track's back half, carrying it skyward beyond the terrestrial.

Locktender also work the post-hardcore angle but do so with a conceptual basis of interpreting the work of (non-musical) artists through their own art. For this release they've chosen Herman Melville's “The Piazza” as the subject. It's a dynamic track working through walls of noise, tender guitar melodies, menacing vocals and heavy-handed aggression.

Each side of this 7” compliments the other by balancing volatility and vulnerability, introspection and outward expression. Why not have a listen for yourself, then head on over and pre-order it!

Band info: www.facebook.com/hereisamber | www.facebook.com/locktenderband
Label info: www.halooffliesrecords.com

Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.

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Chicago-based instrumental quartet Pelican faced a major setback early last year when founding guitarist Laurent Schroeder-Lebec decided to leave the band, just when they were about to start the writing sessions for a new album. However, this was not enough to discourage the remaining elements, guitarist Trevor Shelley de Brauw, bassist Bryan Herweg and drummer Larry Herweg, who promptly found a replacement in Dallas Thomas (also of The Swan King) and finally recorded the long awaited sucessor of “What We All Come to Need”.
Titled “Forever Becoming, this new effort was recently released by Southern Lord, so we fired a few questions over to guitarist and founding member Trevor de Brauw to know a bit more about it.

You’ve just released you first album in four years entitled ‘Forever Becoming’, which it’s also the first record you’ve written without guitarist and founding member Laurent Schroeder-Lebec who left the band in 2012. You mentioned in a recent interview that this was a complicated record for the band. Could you elaborate on that a little?

"Following the touring for our last album we took a step back and reconfigured our lives. We knew that we no longer wanted to tour four or five months out of the year as we had been, but it meant finding jobs and figuring out a way to integrate the band into a more regimented, normal home life. Along the way Laurent realized that his passion to pursue music had dwindled, but he urged us to continue as he didn't want to hold back our creative energies. It was a big change since the band has always been the four of us and Laurent has always been a very active writer, but the challenges implied by this shift gave us a challenge to rise to, which I think was a positive thing."

Following Laurent’s departure you’ve enlisted the services of guitarist Dallas Thomas of Chicago-based rockers The Swan King. Did this change the songwriting dynamic at all?

"The song writing dynamic was affected more by the departure of Laurent than the addition of Dallas in this case. For the majority of the writing process we approached the record as a three piece, with Bryan and I writing both guitar parts and the bass lines between the two of us. He and I would develop several song ideas, then Larry would come to town and we'd edit them down. Once structures were set in stone Larry would record drum tracks for Bryan and I to build fully realized demos on top of. We wrote 6 or 7 songs this way, then finished The Cliff and The Tundra after Dallas had joined the band."

And is there a difference in the way you guys personally approach the writing of a record these days, I believe you still live in different cities right?

"Yeah, the three of us are in Chicago and Larry is in LA. I alluded to the process a bit in the previous question, but the working method definitely involved a lot of file trading. We try to make the most of our time by recording pretty fleshed out song ideas that we can share with Larry, so he has time to work on them and think about them in advance of trips to Chicago. He came to town three or four times during the writing of the album and we'd do epic marathon days of practicing and editing the songs down."

What was the recording process like for ‘Forever Becoming’? You’ve recorded this new effort with Chris Common, who’ve also recorded your previous record ‘What We All Come to Need’.

"It was great. Chris makes for an excellent engineer because he has a great sense of what it is we're going for, how to achieve it, and how to keep us comfortable along the way. A recording studio can be a very tense atmosphere, because it's a process of putting your music under a microscope and amplifying every minute detail that maybe hadn't been noticeable in the practice space- he's good about communicating with us in such a way that we relax and get good performances."

What will be your strongest memory of the recording sessions for this new effort?

"When we were tracking the guitars and basses in Electrical Audio's upstairs studio, Nirvana were on the lower level remixing In Utero for the anniversary edition of the album. We never crossed paths, but there was one day where a local news site posted a photo of Albini out with those guys for pizza and people must have put two and two together because there were a bunch of kids hanging out outside the studio the next day waiting for a glimpse. It was pretty weird."

‘Forever Becoming’ seems like a darker and heavier record than your previous effort. What was the intention behind this change? What were the inspirations for this record?

"As with all of our records the inspirations behind the record were simply the life experiences we had between one album and the next. We all had our fair share of dark times, which manifested in the vast majority of the album having a darker, melancholy vibe. But there was also a wellspring of positivity, which I think comes across in the later tracks on the record."

Can you explain the title for me please?

"The album is about the acceptance of one's mortality and the important place that death holds in the cycle of life. Death and decomposition are just steps in the world regenerating itself as dead matter provides fodder for the living - we are all in a constant state of change."

What is on tap for Pelican for the rest of 2013?

"We have a few tour dates coming up in the US in the Fall, then we'll go into hibernation for the winter."

More info at: https://pelicansong.bandpage.com
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New York based post-metallers A Storm of Light has premiered a new song titled, “Fall”, today at Revolver Magazine. The track is the opening tune of the band’s forthcoming new studio offering, ‘Nations To Flames’, which is set for release on September 17 via Southern Lord Recordings.
The new album was recorded with Travis Kammeyer (OCOAI, Generation Of Vipers) at Fahrenheit Studios in Johnson City, Tennessee, mixed with Matt Bayles (Isis, Soundgarden, Pearl Jam, Botch, Mastodon) at Red Room Recording in Seattle, Washington and mastered by Brad Boatright (Sleep, From Ashes Rise, Nails) at Audiosiege in Portland, Oregon.

More info at: http://astormoflight.com

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Five years after their last outing, Sweden’s Cult of Luna return this year with their most ambitious and cohesive record yet. Long time fans of the band never had much to complain about, they’re simply incapable of making a bad record, but what is truly amazing is that they continue to top themselves with each new release. “Vertikal” like most of their past efforts is a challenging and heavily-layered album that demands time and attention, it may not be as immediately invigorating as “Eternal Kingdom” or “Somewhere Along the Highway”, but further listens reveal a truly fascinating record that sees the Swedes at the peak of their powers.
Influenced by Fritz Lang's 1927 movie, Metropolis, this new record shows a greater emphasis on electronic and repetitive sounds, creating a colder, darker and more urban atmosphere that superbly reflects the dystopian narrative of the movie it draws inspiration from. Songs like “Synchronicity”, “Mute Departure” and “Vicarious Redemption” along with some Kraftwrek-driven instrumentals truly impart the sense of despondency that is associated with Lang’s futuristic vision of the world.
It might have taken a while to complete, but “Vertikal” is definitely worth the wait, it’s challenging and intriguing and ultimately an amazing album. 

Band info: www.cultofluna.com
Label info: www.indierecordings.net

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