Mining Metal: 200 Stab Wounds, Archspire, Cave Bastard, Dream Unending, Human, Stormkeep, The Temple, and Tower

A rundown of the best underground metal releases of November 2021

Mining Metal

    Mining Metal is a monthly column from Heavy Consequence writers Joseph Schafer and Langdon Hickman. The focus is on noteworthy new music emerging from the non-mainstream metal scene, highlighting releases from small and independent labels — or even releases from unsigned acts.

    Here’s some fast numbers for all of you. Metal Archives, an imperfect but still useful resource, has 471 new albums listed as being released during the month of November 2021. Including EPs, splits and collaborative records, that number jumps up to 782. When you add in the number of records and labels not catalogued on that site, that number jumps up, often quite drastically. We have eight slots to work with total. There is a scalar difference between these numbers, which require a lot of tools and frankly a large amount of personal taste to carve down to a more reasonable number. Parts of this process are more perfect than others; we don’t support or platform bigots here, which carves out a certain number every month, and while we have fairly wide ears in certain respects, the fact of being human unfortunately precludes certain things by simply not appealing directly to us as listeners, writers, and editors.

    This is all to say that even in the thinner months of the year, it is a wonderful and exciting challenge for us not to reach quota but to select what exactly makes it. Sometimes we’ll pass over a more obvious release or record label or band in favor of highlighting some strange and very small gem we found, trying to give a platform to the most underground of underground material we can find. Other times, we get swept up in the buzz around a record just like anyone else, feel zeal and wide-eyed wonder just like anyone else. Music writing, after all, shouldn’t ever be totally stripped of the human capacity for wonder. Why would you ever care about a machine-curated list of scare-quotes perfect bands when you the human on the other side of this screen are looking for art, be it extreme or otherwise, that reveals or confronts some aspect of the vastness of the world you live in?


    This month, however, was a particularly challenging one. I, Voidhanger, truly one of the very best labels going right now regardless of genre, put out a slate of eight brilliant records all by their lonesome, none of which wound up being featured this month. (Take this as a quiet nudge to go check those out if you haven’t already!) Why? Because we’ve already featured records from the label a number of times this year and, honestly, almost certainly will again and very soon at that, and we are honest in our commitment to share this platform with as many different types of people and places and figures as we can. As noted below, we had to bump the truly incredible debut record from Sijjin for the similarly incredible debut from the band The Temple, both of whom are international bands. Hell, Cara Neir and Negura Bunget dropped great new records and just barely missed out not due to their lack of quality but just due to the overwhelming surfeit of it seemingly everywhere this month.

    The reason we do this, ultimately, is because we sincerely love this music. It presents… let’s call them “challenges” — some days and labels and bands and figures being more challenging than others — not to mention the problems within the subculture that can sometimes drive very talented and very loved people understandably away. But it’s important not to view these as mere instances for mobilization but instead opportunities for greater organization. The difference between those two is narrow but stark; the mobilized seek to address one issue, one grievance, while the organizational seeks to slowly prevent further issues from occurring. These are scalar problems, requiring scalar thought, imagining structures that exceed that of a single writer, a single column, a single publication, etc.

    But all of that comes not just from a love of people, an anti-misanthropic sense of compassion and love. It comes as well from a love of heavy metal. The beauty of the heavy metal fan is that ours is the love of a child. Not in that it is shallow or thin, but in that it is zealous, pure, and powerful. This is music that shares a beating heart with psychedelia, with prog, with hardcore, with avant-garde music. This is music that shares an ideal with novels spanning from science fiction to coming-of-age tales to visceral horror to philo-theological texts to socialist realism to utopian and dystopian fantasy. We, the universal we, the we of all heavy metal players and fans, invest in the broader imaginative and emotional capacity of this music. It is a joy not a burden to dive again and again into its waters. That we are given so much great music, even in the midst of people or events that are sometimes far from great, is a blessing. That it is often too much to contain in so small a pool as this is a further blessing.


    The more politically and socially active you become as an adult, the more you try to move beyond the pithy hypervocalism of online space to truly applying your mind and body to making a world like that you believe should exist, the more the value of these things begins to reveal itself. We are all, you and me and everyone else, agents in the world before we are people who engage with art. We have jobs, we have families, we have social circles, and so too do we have responsibilities and connections, fears and anxieties, desires and terrors. Politics big and small is part of all of our lives and we all have thoughts regarding it, as to with sexuality, with sociology, and everything else. Age and time also humbles you, if you let it. You begin to understand how small you are, how small your neighborhood and friends and systems you contribute to are, and so too how small almost everything is. We are all trapped between processes of scale, be it the vastness of the global capitalist-imperialist political machine or hundreds and hundreds of new metal records every month, each a translation-shifted mirror to each.

    But there is joy in these things. There is hope and labor for those committed. This is a kind of blessing. In the midst of the long and complex work of adulthood in which we all are enmeshed — not to mention the big, frustrating, heartbreaking world we are again and again forced to confront in repeating cycles until death — there is heavy metal. It is a small thing, but a real thing. Because this love is a child’s love, and that is a buoy in darkness, terror, and confusion. God, I love heavy metal. God, death metal is so perfect. I am listening to death metal.– Langdon Hickman

    200 Stab Wounds –  Slave to the Scalpel

    It’s a little too easy to review a band with a digit at the front of their name – they get to just come to the top of the alphabetically-sorted list without trying to find an exciting phrase beginning with “aardvark.” That said, I feel no guilt in putting 200 Stab Wounds in the pole position of our column because Slave to the Scalpel has got to be the single catchiest death metal album I’ve heard in years, and that’s an accomplishment. These Ohio butchers hearken back to the most listenable gore-infested albums by old-school titans like Cannibal Corpse’s The Bleeding and Obituary’s The End Complete and update hose songs to modern recording standards without sucking all the soul out of the music. Better, while they don’t skimp on the salacious lyrics or sewer-ridden sound, they remember that songs need memorable bits to last more than just a few weeks in your memory banks. Slave to the Scalpel hits your ears courtesy of molten-hot death metal label Maggot Stomp, who have been the go-to choice for death metal die hard who love long sleeve tee shirts and gym shorts with logos splattered across the butt – in other words, my people. That said, I think this is the label’s first bona fide triumph. Don’t skip it. Buy it on Bandcamp. – Joseph Schafer

    Archspire –  Bleed the Future

    In case the last blurb or the previous two years of this column didn’t spell this out, I’m going to repeat it in very plain terms: Langdon and I like death metal, in all its forms. (It’s true. Langdon Hickman) That said, some forms tend to scratch the itch more than others, and the hyper-technical arm of the genre that Archspire originates in has a steeper climb up into my head than most. To me, even the best modern bands in this style like, say, Rivers of Nihil, may be good songwriters but they write those songs in serve of a Captain Ahab-like hunt for the white whale that is Necrophagist and, like Ahab, they don’t really stand much of a chance. Archspire, though, are apex predators of their own ecosystem. Their chops must be among the most formidable of any band in any genre, but they use their skills to serve the ebb and flow of intensity in their music. Rather than show off, their bullet-hell double kick and sweep-picking sections serve to underscore the inhuman nature of the stories they tell on Bleed the Future. And when it comes to storytelling, Archspire have a secret weapon: vocalist Oliver Rae Aleron. He delivers his deathcore bellow with a multisyllabic precision that draws as much from the battle rap tradition as it does from any rock idiom, which makes Archspire the only tech death band I know of whose singer goes off as hard as their other members, which makes Bleed the Future one of the best underground metal releases not just of this month, but of the whole year. Buy it on Bandcamp. – Joseph Schafer


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