Brooklyn’s Castevet should tour with Gorguts — there are some neat parallels to the two bands this year that would make for an engaging narrative. Both bands returned in 2013 after relatively prolonged periods of absence (twelve years for Gorguts; three and a half for Castevet); both bands’ revamped lineups borrowed members of Krallice to play bass (Colin Marston in Gorguts; Nick McMaster in Castevet); and the new albums from both bands are defiantly progressive takes on longstanding metal genres (Gorguts = death metal; Castevet = black metal) that are so forward-thinking they barely qualify as death metal or black metal or even progressive metal. They’re just brilliant, exciting records. That’s the other thing the two bands have in common — they’re respectively responsible for two of 2013’s absolute best metal albums: Gorguts with Colored Sand and Castevet with the forthcoming Obsian. Last month, I wrote a bunch about the first track to be premiered from Obsian, “As Fathomed By Beggars And Victims,” which also placed high in our list of August’s best metal tracks. Today, we’ve got another one for ya: “The Curve,” which veers from screeching blast to smooth cruise without seeming to notice or care that the two textures are diametric opposites. It makes great use of frontman Andrew Hock’s blackened shrieks and McMaster’s prog-as-fuck six-string bass. And it’s totally glorious. Listen.
Obsian is out 10/15 via Profound Lore.