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Showing posts with label Armed for Apocalypse. Show all posts
Showing posts with label Armed for Apocalypse. Show all posts
Welcome to “Sonic
Selections (((o)))” — a monthly descent through the records that have
shaped my listening, defined the mood of the weeks gone by, and carved out
their own space in the noise. This is a
curated reflection (based on my listening habits) on the releases that
lingered, pressed themselves forward, and refused to fade into the backdrop.
These are the albums that carried weight, that revealed themselves across
repeated listens, and that left a tangible imprint on me throughout February. Across this rotation, I clocked 1,562 streams,
drawing from 87 artists, 88 new albums, and 347 new tracks, amounting to five
full days of listening. The numbers may have dipped — an average of 56 streams
per day, down 18%, with the weekly peak landing at 108 streams on February
11th, itself a 13% drop — yet the decline didn’t dull the impact. If anything,
the quieter pace sharpened the focus, allowing certain records to rise with
clarity and insistence What follows is a
collection of works that held my attention through atmosphere, intent, and
sheer sonic presence — releases that demonstrated resilience under scrutiny,
that demanded immersion, and that ultimately became the pulse of this month’s
listening. Here are the recordings
that shaped the week’s sonic landscape. 1) Converge– “Love Is Not Enough” What Convergepresent
here is the sound of a band decades into their craft, yet still utterly
unwilling to become a monument to past glories. Love Is Not Enough feels
like the culmination of years spent refining emotional violence into something
startlingly measured. There is an unmistakable sense of purpose woven through
these songs — a clarity in the way they rise and collapse, as though the band
have learned to channel turmoil rather than be consumed by it. Convergehave
long reshaped the boundaries of heavy music, and here they do so again, not
through shock or abrasion, but through the quiet confidence of artists who know
the weight their music carries.2) Eximperitus– “Meritoriousness of
Equanimity” This album feels like an
excavation — a slow, deliberate unearthing of something ancient and
unfathomably dense. Eximperitusconstruct their world with a steady hand, each
riff carved with ritualistic focus, each passage unfolding like a text written
long before modern ears learned how to listen. Beneath the suffocating weight
lies a remarkable sense of order; the chaos is controlled, the momentum
purposeful. It is music that demands immersion, rewarding those who surrender
to its gravity with hidden intricacies and quiet revelations. A towering,
enigmatic work.3) MØL– “DREAMCRUSH” With “DREAMCRUSH”,
MØLcontinue to blur the lines
between beauty and abrasion, crafting a record that seems to breathe in colour
before exhaling cold shadow. There is an emotional immediacy at play — melodies
that shimmer with longing, vocals that tear through the haze with raw
intensity. These songs feel like fragments of memory: radiant, fleeting, and
occasionally devastating. MØL guide the listener through a landscape that is
both bruised and luminous, and the journey leaves its mark long after the final
notes fade.4) Shine– “Wrathcult” “Wrathcult”
strikes with an immediacy that borders on confrontational. Shinewaste no movement, no
breath, no unnecessary flourish; every moment is honed to impact. Yet beneath
the bluntness lies a sense of conviction — the sound of a band who trust the
power of simplicity, who understand that aggression need not be clouded by
excess. These tracks barrel forward with unwavering resolve, leaving behind a
trail of grit and purpose. It is a record built from discipline, momentum, and
unfiltered intent.5) Ritual Arcana– “Ritual Arcana” Ritual Arcanacraft
music that seems suspended in a perpetual twilight, where each note lingers
like incense drifting through a dimly lit chamber. Their self‑titled record
unfolds slowly, shaped by a patience that draws the listener inward. It is
spacious yet heavy with atmosphere, each track carrying the quiet pulse of
something unseen but deeply felt. There is a sense of ritual — a deliberate
cleansing of emotion through sound and silence. This is not music that demands
attention; it quietly earns it, inviting you to sit within its shadows and
listen.6) Poppy– “Empty Hands” With “Empty Hands”,
Poppysteps forward as an artist
unafraid to reshape her skin once again. What emerges is a record of clarity
and re‑definition — a distillation rather than an expansion. These songs move
with purpose, their edges still sharp but their centre more grounded, revealing
a maturity in both tone and intent. There is a quiet confidence throughout, as
though she has stripped away the noise to reveal something more vulnerable and
sincere. A graceful, compelling reinvention.7) Embittered– “Archatron” “Archatron”
feels like a descent — a slow, oppressive drift into a world sculpted from
shadow and ritual. Embittered’sdebut moves with an almost
ceremonial patience, each riff rising like smoke from a long‑forgotten altar.
The two‑part “Archatron” suite anchors the journey, a pair of sprawling
movements that radiate cold purpose and atmospheric weight. This is blackened
death metal that sees no need to rush; instead it smothers, surrounds, and
eventually consumes. A stark, commanding first offering.8) Shields– “Death Connection” Shieldsdeliver
a record that feels polished yet heartfelt, a modern metalcore release shaped
by hooks that soar and rhythms that strike with precision. “Death Connection”
is driven by clarity — of production, of songwriting, of emotional direction.
There is a sincerity beneath the sheen, a sense that the band have distilled
their strengths into a series of tracks that move with both accessibility and
earnest impact. It is an album that understands its purpose and fulfils it with
confidence.9) Gros Enfant Mort– “Les Sang Des Pierres” This album moves like
shifting earth — slow, deliberate, and charged with an underlying tension that
never quite resolves. Gros
Enfant Mortlean
away from convention, embracing mood and atmosphere over traditional structure,
and the result is music that feels both meditative and unsettling. Each track
expands and contracts like breath, pulling the listener deeper into its
textured emotional terrain. “Les Sang Des Pierres” is a quiet
revelation: immersive, expressive, and haunting in the most understated way.10) Fossilization– “Advent of Wounds” “Advent of Wounds”
is an immense and suffocating experience, the kind of death‑doom release that
moves with the inevitability of encroaching night. Fossilizationconstruct their songs from towering riffs and
cavernous resonance, creating an atmosphere so dense it feels almost tactile.
Yet within that heaviness lies a profound sense of mood — a slow‑burn emotional
gravity that pulls the listener into its depths. It is a record built on scale,
texture, and unrelenting weight, and one that lingers long after its final
rumble subsides.
A curated descent into the tracks that defined
February 6th – February 12th: the most vital, corrosive, forward‑leaning new metal of the
week, delivered with the slow, air‑starved crush of something sinking under its
own mass. This rotation sinks fully into February’s churn, crawling through the
filthiest new strains on offer and locking onto the sounds that bruised
deepest, smothered the room, or clung like a tightening coil long after the
final impact.
This week’s choice cuts
were stripped from the following release(s)
Eximperitus– “Meritoriousness
of Equanimity”
The gravitational centre
of the entire week, streamed 90 times, making it both the top artist and the
most‑played album. Its labyrinthine death metal architecture set the tone for
the rotation from start to finish.
MØL– “Dreamcrush”
A major presence
throughout the cycle with 79 track streams, its soaring blackgaze intensity
cutting through the week with relentless momentum.
Shine– “Wrathcult”
With 77 streams, this
release carved deep into the mid‑week sessions, its serrated edge leaving a
clear mark on the week’s overall texture.
Shields– “Death
Connection”
Although not included in
the playlist, it still landed 59 streams, becoming one of the most significant
outside‑rotation forces of the week.
Nightmarer– “Hell
Interface”
A dense, disorienting
slab that contributed 45 track streams, adding weight and atmosphere to the
darker corners of the rotation.
Blacklight Holywater– “Not Here Not Gone”
Another off‑playlist
standout, streamed 42 times, its bleak, shadow‑drenched tone fitting seamlessly
into the week’s overall mood.
Syberia– “Quan
tot s'apagui”
A sweeping instrumental
counterbalance with 42 streams, offering atmosphere without easing the
intensity of the broader cycle.
Urne– “Setting
Fire to the Sky”
With 27 streams, this
track added a dose of muscular, melodic heft to the week’s listening profile.
Armed for Apocalypse– “Fist Like Feathers”
The most‑played
individual track of the week at 17 streams, standing out as the blunt‑force
highlight amid heavier full‑length rotations.
Pilori– “Lèse-Majesté”
A venomous single that
pulled in 15 streams, holding its own against the week’s dominant albums and
adding a sharp, caustic edge to the rotation.
WEEKLY LISTENING REPORT —
FEBRUARY 6–12 ⚔️ Total Streams: 504 — a 32% increase,
marking one of the heaviest surges in recent rotation. The bulk of that weight
came from a handful of records that demanded repeat immersion, with Eximperitusand MØLin particular pulling the
week into deeper, more obsessive territory. 🩸 Total Artists Streamed: 18 — down
38%, reflecting a much tighter focus. This was a week defined by fixation
rather than exploration, with a small circle of bands dominating the atmosphere
from start to finish. ⚔️ New Albums: 19 — a 35% drop, though still
a substantial intake for a week where repeat plays carried most of the load.
Even with the narrowed scope, new material continued to carve out space in the
rotation. 🩸 New Tracks Streamed: 82 — down only
4%, holding nearly steady despite contraction elsewhere. Fresh tracks continued
to feed the edges of the listening cycle, but the gravitational pull of a few
dominant releases kept the centre of the week firmly anchored. ⚔️ Total Listening Time: 1 day, 15 hours — a
30% rise, signalling longer, more immersive sessions. Much of that time was
spent locked into the dense, ritualistic weight of Eximperitusand the atmospheric punishment of Nightmarer. 🩸 Average Streams per Day: 72 — up
31%, showing consistent pressure throughout the week rather than isolated
spikes. The rotation stayed heavy from start to finish. ⚔️ Most Active Day: 108 streams on February
11th — a 15% increase, standing as the week’s clear peak. This was the day
where the listening pattern tipped fully into saturation.
⚔️ Top Artist: Eximperitus(90 individual track streams)
🩸
Top Album: Eximperitous– “Meritoriousness of
Equanimity” (90 track streams)
⚔️ Top Track: Armed for Apocalypse– “Fists Like Feathers” (17 streams)
⚔️🩸 The New Flesh Index Playlist #7 (30
biggest tracks of the week)
⚔️🩸THE NEW FLESH INDEX — WEEKLY ROTATION.A curated list of choice cuts that shaped my week: the most vital, corrosive, forward‑leaning
new metal, stitched together with a few choice relics from the vault. This
week’s featured artists are Deadwood,
Chairmaker, Noriega, Rowsdower, Will Haven, and Ghostride. Remember
— we crawl through the underground so you don’t have to.
⚔️ Total streams: 238 ↓ 42% vs. last
week 🩸 Total
Artists streamed: 13 ↓ 70% ⚔️ Total Albums
streamed: 17 ↓ 65% 🩸 New Tracks
streamed:105 ↓ 47% ⚔️ Total Listening Time: 16hrs ↓ 44% 🩸 Average Streams: 34 per day ↓
42% ⚔️ Most Active Streaming Day:84 on December
26th ↓ 20%
Wow, where the hell does the time go, eh? It has been 4 long years since our last
Records of their Years feature and you must turn the clock back even further still,
to 2013, since we last featured the sludge juggernaut that isArmed for Apocalypse.
The feature, which was published on June 21st
2013, has stuck with me over the years for a couples of reasons, firstly, I wrote the article on Fathers day and
like today’s guest Cayle Hunter, he is also a family man and knows the struggles
of balancing their work and home life against their passion for music and
secondly, 9 years later, I am scratching my head and wondering why the hell are
this band not huge by now.
People, that time is now, for in the year two thousand and
twenty two, the riff gods have answered our prayers. Armed for Apocalypse are back baby. Not only that, they have also dropped their
heaviest and best album to date in the form of “Ritual Violence”
and today I have hooked with my mate, Cayle Hunter to discuss his “Records of
their years”.
Before we get into that, remember, when you listen to
their new album “One does not simply listen to Armed for Apocalypse,one must listen at maximum volume, to achieve
maximum violence”
THE SLUDGELORD: Hey
Cayle, thanks for doing this. Can you
tell our readers about your favourite album or albums from the year you were
born?
Cayle: This is a tough one because I’m old as hell,
there were a ton of absolute classics that came out during that time, and I’ll
bet my answer would have changed several times throughout my life.
It should also be noted I’m answering your question,
my favorite, not “the best”, because I think “Rumors” by Fleetwood Mac or The Clashself-titled are probably
the best.
My favorite: “Bad Reputation” by Thin Lizzy.
From the opening gong sound of “Soldier of Fortune”
I am completely invested in this record, especially when it kicks right into
the signature guitarmonies Lizzydoes better than everyone,
including Iron Maiden.
The title track is a snarling rocker that definitely lands on the darker side
of the band’s catalogue, which I love.
The highlight for me, and what makes it my favorite
from this year, is the back-to-back combo of “Southbound” and “Dancing
in the Moonlight”. These two songs have been played in our band van
hundreds of times. We walk around randomly singing the hooks out loud to each
other and it gets a sing-along or a laugh every time. It’s a perfect soundtrack
for driving through the open spaces of places you’ve never seen before, and I
highly recommend the experience to everyone reading this.
THE SLUDGELORD: Who
were some of your musical heroes growing up and how did the shape your musical
journey?
Cayle: My earliest musical heroes oddly enough were
rappers. I grew up going to the worst elementary school in my town, but the
kids there had great taste in music. My taste in hip hop followed the same arc
as my taste in rock: I started light, then gravitated towards the darker or
more extreme artists. At the time it was NWApushing the limits, getting arrested, getting censored and
having their music banned. They were so damn cool! Dr Dreis still a hero of mine to this day because the music he
creates is so timeless, and Ice
Cubescared
every parent in America back then. Bad ass.
As I grew and my tastes evolved, I got new heroes. Black Sabbath. Page Hamilton. Bad Brains. Danzig.
Pantera. Then I went back to see what music came before my time and
found even more heroes. Miles
Davis, Ray Charles, Stevie Wonderetc. Far more than I can list here.
These heroes shaped my musical journey because of what
they have in common. They don’t sound like anyone else, and they don’t want to
sound like anyone else. They are independent thinkers who are only interested
in sounding like the best version of themselves. That authenticity is my
highest aspiration. True expression. We try our best to apply that to AforA.
THE SLUDGELORD: First
record you bought with your own money, how old were you and where did you
purchase it?
Cayle: Can I throw a little curve ball at this one and
give you the first record I stole? Haha! It was “Vivid” by Living Colour, and I
stole it from a drug store in Redding, California when I was in middle school.
Great record, stupid thing to do.
The first CD I purchased with my own money was “Betty”
by Helmet.
I’ve talked about this a lot in the past, but that band and that record changed
everything for me.
THE SLUDGELORD: An
album or albums you bought based purely on the album artwork?
Cayle: This was a pretty normal occurrence for me
before you could listen to everything so easily. My biggest hit is an easy one
to remember: “Chaos A.D.” by Sepultura. I didn’t think the artwork was especially good,
or even that striking really, but it was in the “Metal” section, the name was
unique and it kept jumping out at me. I remember thinking it was going to sound
industrial or something, which is why I didn’t pull the trigger. But one day I
took the leap and was greeted by one of the finest collection of riffs ever
assembled. A total classic.
It should also be said, I bought some complete bull
shit based on the artwork too but finding “Chaos A.D.” was worth all of
the failures.
THE SLUDGELORD: What
is your go to non-metal / rock album?
Cayle: Man! These are such tough questions! You keep
asking me to be so decisive when I love so much music!
If I have to pick one, it would probably be the blue
album by Weezer.
To me it’s perfect. It’s pop music played in a heavy way. The guitar and bass
tone on that record would put most stoner and doom bands to shame, and there is
a melancholy to it that makes it personal and relatable.
It’s my favorite driving record, and driving is my
favorite time to listen to music.
THE SLUDGELORD: An
album from the past or present that disappointed you at the time but you have
since grown to love?
Cayle: This is the most embarrassing answer ever,
especially coming from a metal head, so please don’t laugh me off the internet:
“The Great Southern Trendkill” by Pantera.
I KNOW!!!!
I don’t know what I was expecting, and to this day I
can’t imagine why I didn’t connect with it on the first listen. I do remember
going through an artsy fartsy stage at the time and being sort of turned off by
the overtly macho side of metal for a while, but that’s no excuse.
Later, after I got over being cooler-than-though, I
gave it another shot and was immediately filled with shame. I had slept on one
of the best metal records ever for no good god damn reason. We all make
mistakes…
THE SLUDGELORD: Your
favourite album of all time or if you prefer, an album or album (s) you’d run
back into a burning building to rescue?
Cayle: I do not have a favorite album. I have an upper
echelon of records and it’s impossible to pick one. But I don’t want to be a
coward and ditch this question, so I’ll say “NOLA” by Down.
This was another record I missed out on, but I didn’t
sleep on it as much as I simply didn’t hear about it. I remember my friend
telling me one day that Phil from Panterahad
a band with the dudes from Crowbar,
COCand Eyehategodand I thought he was
joking! Then he said, “I heard it’s not that great”, and I didn’t even know
what it was called so I didn’t really go dig for it. Then one day he had it in
his car and we checked it out. Game over.
The cool part about that record is the more I listened
to it the more I loved it. I liked it at first, I love it like an old friend
now. It’s like Black
Sabbath andtuned-down
Lynyrd Skynyrdwith Phil Anslemo singing
over it, at the top of his game no less. It simply doesn’t get old.
There was a time that I owned four copies of that
record. One for my car, one for my house, one for work and one to have in a CD
folder to take in other people’s cars in case they didn’t have it. That’s how
badly I wanted it around me at all times.
THE SLUDGELORD: What
are some of your favourite album (s) of year?
Cayle: In no particular order:
Conjurer,
“Pathos”
Fit For an
Autopsy, “Oh What the Future Holds”
Cult of Luna“The Long Road North”
Cave In“Heavy Pendulum”
Immolation
“Acts of God”
Bloodmoon:
I
Undeath“It’s Time…To Rise from
the Grave”
THE SLUDGELORD: ..and
finally The last album you bought
Cayle: Conjurer, “Pathos”. Always have to support great friends doing
great things!