Saturday, July 27, 2013
Even after so many stupendous releases, new artists continue to expand their retinues upon US and progressive black metal, and it pleases me greatly to discover acts that can masterfully convert the eerie, swooning delicacy of USBM into a progressive account. Autolatry is something of a novelty to me, having them exhumed them from a superfluity of releases last year, when their self-released EP ''Of The Land'' came out, and I was fairly intrigued and certainly taken by the young Connecticut five-piece, a brazen presentation of chilling, agonized black metal played and composed with surprisingly convenient professionalism. With their sophomore, Autolatry do not back down a single step from their formidable professionalism that was so prevalent on the EP, and now cast a wider net with a brilliant intake of numerous influence ranging from European progressive, to USBM, to even jazz, and after a couple of spins which failed to quench my desire to take in more, I was more than impressed, but dazzled by the quality of the music I heard, and without a shadow of a doubt, ''Native'' is bound to go down as one of 2013's best records, maybe even the very best.
I don't know what urged the quintet to so voraciously continue to explore the breadths and intricacies of their sound; perhaps they were not quite as content with ''Of The Land'' that they saw an excellent output as their only consolation and salvation from the miseries of having released a ''bad'' album, but I was frankly very pleased with the EP, so if that was a tasty bacon ''Native'' has to be a fucking triple griller with mustard and barbecue sauce leaking out of its crusty granular exterior, so damn delicious that you simply can't have enough of it. The ambiguous praise aside, ''Native'' truly deserves countless accolades. You can't the influence of 21st century Enslaved on Autolatry, because it's probably the most prominent, visible attribution of the record, with stipples of Borknagar and Klabautamann, but that's obviously not say the only thing these guys have achieved is to process the aforementioned bands' music through little differentiation. Autolatry, from the moment the album initiates with the perilous ''Colony'', sprays the listener with agony, mourn and grief. It's just incredible. Graceful, swerving and discordant guitars delivering a galvanizing burden of torture and lament - and what's more is that this isn't merely as inaudible as some acts out there who cream their production with obnoxious fuzz and batter the listener with relentless excursions of primal second wave black metal. ''Native'' definitely has roots deep in Norway, but the overall sound is indubitably modern and more obsessed with newer acts, and that distinction compels me even more, really.
The riffs are perhaps not too extraordinary, but you can't deny them their doleful complexity, nor the technical prowess of the guitarists Dave Kaminsky and Joe Makuch, who sometimes even project psychedelic tremolos intertwined with steady, stoic drumming. I do admit that there a few rare moments where the dissonant arrangements banter the listener for a little too long, especially when the vocals are no where to be seen, but the rest is blissful, proficient streams of melancholy, and certain chorus sequences I found so memorable that I had to hum them all day in my head to keep myself from going insane. Autolatry's technical capabilities are admirably efficient, but their real strength lies in the way they collect all the solemn, miserable waves of emotion of the steady verse sections, coagulate all the liquid mood, and all of a sudden tauten the rope by gushing with a bombard of mourn, which I found to be best executed on ''Pale Dishonor'', when the cleaner vocals kick in, shortly followed by an almost apocalyptic breakdown, all hell breaking fucking loose, as if the walls around you collapsed after failing to withstand the sheer, stark ray of shearing pain. The vocals, are your rather basic USBM vocals, but they don't detract the quality at all, they simply keep the record afloat, piercing snares which echo through the Necrophagist-esque guitar structures, fluctuating the listener into a hypnotic plateau of originality.
''Setting of the Sun'' is a great piece, a gorgeous acoustic medley, with soothing saxophone leads, swirling around the acoustic guitar passages, and a totally alien track in the album had it not been for the same production level and the same sense of emotional stillness that the rest of the harsher music conveyed and contained. The band usually assists the broader tremolo and chord sequences with beautiful, jazzy solos that mutter delight with every note, simply more material for them to prove their durability and proficiency. Autolatry may not be the most inventive black metal to come by in the last few years, but they certainly exceed a good many in that department, playing with feeling as well as skill, and their lyrical focus in interesting too, although they're not obsessed with trees and lakes, they just use it as a compass to guide their musical inclinations, and the cover is one of the most colorful ones I've seen all year (trust me, I've seen some really good covers this year). There were, undoubtedly, some flaws on ''Native'', like the recurring usage of certain chords and the distilled quality of the verses which, as said, lasted more than they should have, but if they can spike them up with some musical quips and embellishments, they can come of without a dent with their third album. In the end, though, ''Native'' is spot fucking on, making me ripple with excitement and agony every time I listen to it. Don't miss this.
Setting of the Sun
Friday, July 26, 2013
Retro death metal is so fashionable these days that it's literally impossible to find a band that does not pay a proper homage to Dismember, Entombed and other Swedish pundits of gore and grime circa 1988-1993, and the case has shifted from not being able to successfully embody the traditional sound to not being able to give it a whiff of originality and pondering a little more for the sake of the album's level encapsulation. Such is the case with Germany's newest worshipers Wound, striking with a seemingly fresh debut straight from the sepulchral depths of the death metal cavern. Don't let the Gnostic, dreary artwork fool you, Wound isn't here to wreathe past subterranean, concave monuments; their sound almost entirely pinpoints to the same spectrum of influences I mentioned earlier, morbid, wrecking death metal processed through a jaded foundation of rusty chainsaws and olfactory miseries, another hardened but exhausted extraction of Swedeath broiled in modern sonic emphasis.
I was frankly quite disappointed to hear unmitigated chainsaws in the stead of a murkier morass of mourn, something that I have been eagerly digging since a succession of terrific releases by new bands from the 2010-2012 time period, (Anhedonist, Sonne Adam, Antediluvian, etc.) and hell, I could have even sufficed with some classy death metal akin to Wound's label-mates Chapel of Disease who fabricated a less tense brand of early Pestilence and Asphyx and inserted that into a carnal trajectory, but the sulking, squamous cephalopod in the cover wouldn't even let me have that. You may think that ''Inhale the Void'' is egregious, based on my complaints, but the thing is, it isn't. It's just that I've heard this cliche performed sans any kind of adornment or a more open-minded perspective upon the niche so many damn times, that it's just getting overly boring. Wound is thankfully no less than your garden-variety death metal bands out there, with a bulking, meaty tone that's so fucking huge that you'll end up as a bloody pulp by the time the flesh factory has processed you with a complete set of unrelenting instruments, twinging melodies that remind me of Dismember's masterful debut more than anything, and on the surface, it seems that there isn't a palpable paucity of any kind - but later on you discover the Germans are so fucking tight that they have no mobility and no space to grant them even the slightest bit of brazenness.
As far as the vocals go, however, I'm a fan. Wretched, black metal-esque snarls and barks seem utterly orthodox and out of place with the much familiar stream of cadaverous guitars roaming underneath, but that's the only distinction they have, and they should cling on to that as if it was their last strand of rope while cliffhanging from a mountain. This is not to say they should improve upon solely this department - they need to work a heap to hone their riffing patterns, too! The acoustic medleys of the title track or the sauntering, melodious guitar passages of ''Odium'' get you into thinking you're gonna get something different, but when the same molten barrage of lethargic d-beat riffs rush through, most of your apprehension, along with the excitement fleets away. That's ''Inhale The Void'' in a nutshell. It's packaged with just as many riffs - possibly even more - than all the other Swedeath drones out there, but they hardly seem meticulously penned - they may be consistent throughout, but they lose their spiky edge pretty quickly, except for ''Codex Arckanum'' which was a surprisingly intense run of 5 minutes, ripe with the bloodiest, most ferocious material on the album. Wound could have done worse, trust me with that, but scraping my ears with this is like contemplating a now-futile farmland through the eyes of a weary farmer, who now can't get as much as a bag of wheat, even through excessive cultivation. It certainly wasn't bad, but I was never quite captivated.
Confess To Filth
Wednesday, July 24, 2013
Of all the new traditional heavy metal bands emerging from Sweden, Trial is my absolute favorite. ''The Primordial Temple''dropped last year and was an instant winner, installing itself as one of 2012's top releases, hands down. The initial splash of sound may leave little to deduce from, especially for the harsh critique, and many questions arise when year-ends lists are surveyed: ''is this band really suited for the top 10 of the year?''. The answer unquestionably varies, and usually, people are accustomed to underrate such minor and emergent acts just because their mainstream impact does not even equal that of larger, commercially successful bands. Here's my answer to that - fuck big bands and big labels. One of the last things a promising, virile act needs is sweltering pressure from mainstream labels, and I think we've witnessed a goodly amount of bands who underwent the same change, morphing into a commercial outfit before they even get the chance to release a third album, and I thank the heavens that Trial is mettlesome enough to keep true to its underground complex, while still managing to move forward. Nuclear Winter Records, one of my favorite underground imprints, is prudent to sign a deal with the young Swedes, because this shows not only that the band is progressing in quality but also that they've proved not to be some transient group, and I'm eager on getting my hands on whatever releases they spurt in the future.
For now, we're confined to this mini album, ''Malicious Arts'', with the logo back in full archaic splendor, and the same raging, traditionally-oriented heavy metal motifs of ''The Primordial Temple''. Their sonic foundation is completely redolent of King Diamond and Mercyful Fate, sprinkled with Maiden and Priest, but anyone with experience of the debut knows that they're into more than simple, generic rehashing. ''Malicious Arts'' is a queer name for the EP, because despite harboring interest for some of the darker, occult-themed accumulations of heavy metal, there is nothing particularly ''malicious'' here, but the increased doggedness of the riffs, spewed forth via a primal powerhouse of traditional values ignites a certain abysmal aesthetic that seems to be enlarged since the debut. I honestly wasn't expecting any changes at all here, but I was surprised to hear sheer volubility and articulateness rushing through the veins of the melodic riffing, with not a moment of feckless uncertainty or banality during the absorbing 12 minutes of ritualistic heavy metal bliss. Seriously, I think I may as well say that Trial are even better here than in the full-length, but the paucity of proper run time drains some of the elements of complete engulfment, ultimately failing to hit the bull's eye.
The beautiful, harmonious melodies whirl and whistle around like bullets flying through a godforsaken battlefield with reckless abandon, matched only by the memorable slew of gushing rhythm patterns that form a path of primordial carnality. Linus Johansson's vocals are even more spiritual than before, though in no way does he exploit falsettos, but chooses to plod on along with the speed/heavy riffs in a simpler manner of timbre, but his performance on ''Of Sinister Seed (The Madness Within)'' is just spectacular, fronting the roaming guitars with an incinerating range of inflections. The more technical guitar riffs collide with his brilliant high-pitched screams and form something of a dream-like ritual, as though you were being the center of a blood-painted pentagram with a choir of hooded acolytes singing psalms for the devil. The fluent leads promptly form an incandescent arch of serenity, and the drums are strikingly effective, spiking as they are somehow shadowed by the abyss of the guitars and the mesmerizing vocals. The overall sound is titular, from start to finish, and the echo-dowsed consistency of the instrumentation never proves to be a hindrance. Even the lyrics constantly sold me:
Through the mist I trembled forth in solitude
To seek the dark depths once again!
And unveiled were hidden plains leading out of time
That will erase all restrictive thoughts of mine!
Receive the power to build the world anew
Your own reflection will no longer stare back at you
Like flesh and bone suddenly ripped apart
Heed to the fire that burns within your heart
One thing that's definitely more prominent on ''Malicious Arts'' is the fact that Trial are becoming more and more ambitious and adventurous. Sure, only on very few occasions does the EP work against the pinpointed influences that it aspires to be like, but shovel a patch of earth with ''Malicious Arts'' written all over over it, and you're bound to find a few different artifacts from that of a King Diamond coven. It's obvious that the Swedes are working with pure dedication and the music here, as noted before, is not a cheesy reevaluation of traditional Danish or NWOBHM aspects, it's rich music packed with intriguing densities and subtleties, yet so rarely do the Swedes show their lassitude while working with such swelling compositions that the listener, finds himself entangled with diligent, thoughtful riffing and frivolity at once. Perhaps I may have exaggerated a slight bit when I said that there wasn't a single moment of banality, because there are some rare sequences in these 12 minutes that I felt the band ventured a little too deep into the abyss, leaving the listener in a somewhat bleak, aimless attic, but the overall quality is good enough to make me listen to this over and over again. Thus, I like to think of Trail as a better model or revitalized heavy metal than many others in the same spectrum, such as In Solitude and Portrait, and I have no doubt that the upcoming full-length will continue to kick asses in the same manner.
Of Sinister Seed (The Madness Within)
Tuesday, July 23, 2013
Finland may not be the most prolific metal country out there - it never was - but that's not to say that the northerners are alien to metal's exhumations and characteristics - this is the country where quality, original music comes in good numbers, in as many genres as you can think, in presentations both primal and modern, despite not sprouting bountifully. Purveyors of mourn and morbid carnality lie in abundance, and that includes the young Pantheon of Blood who have been pervading innocent souls with abysmal black metal since their successful 2011 EP. ''Tetrasomia'' is a definite step forward from the utterly primordial aesthetics of its retracting predecessor, but it does not deviate from its accursed roots too much as to seethe through the listener's mind with the same sense of overwhelming fear and emotional catharsis, installing itself as arguably the biggest highlight of their concise discography.
For one, ''Tetrasomia'' has a fucking fantastic cover. Unlike ''Consociatio Solis et Lunae'', which exhibited, rather poorly, the ethereal reflection of its musical tendencies through a puerile, sexual, and, admittedly, rather amateurish cover art, ''Tetrasomia'' has a brilliant artwork that more or less packs the EP's compartmentalized tenets in a single, gorgeously dark depiction; and while the maxim ''don't judge a book by its cover'' is one that I embrace quite frequently, I can say without hesitation that in this case, the augmented quality of the cover equals quality in content. There is a steady, circuit-like formula that the band revolves around, but aside from a foundation that gathers power from early Rotting Christ, or some of Pantheon of Blood's countrymen like Charnel Winds among others, each track is composed of its own distinct and veritable desires that are narrated by a doleful, eerie choir of guitars and crisp drum patterns. I absolutely love the band's melodic sensibility here: they feel so reminiscent of Rotting Christ's first two discs that they lovingly embrace a psychedelic fountain from which they spew forth a cathartic range of emotions, fluctuating like a multi-faceted current of emotional bliss. The iridescent quality of the drilling tremolos are so colorful that they imbue the listener with a wealth of moody rainbows and veneers, sadness incarnate.
The vocals are sneering and corpulent, but the real wonder that they provide is to draw a distinction between the rich, otherwordly guitar pieces and the frosty twang of its own inflection, simply polarizing the record and enlarging the contrast level to a greater length. ''Thunder Alchemy'', for instance, explodes with utterly woeful diatribes both in the guitar and vocal department, and at about halfway into the song the vocals generate a sort of doomed growl, as if the vocalist found himself to be a victim of premature burial, pleading for help inside his coffin while a crowd of spirits sing a hymn for the dead. You may as well say that the Finnish are at the top of their in the utilization of every single instrument. Besides the harrowing vortex of melodic riffs, the guitars implement clean pieces into the mix, which only deepens the prevalent misery. The drums are consistent though not warlike, as the guitars themselves stay attached to slower, doom-oriented riffing, with occasional outbursts of further emotion. Interestingly enough, the production is hardly dilapidated, while the vocals certainly belong to a wilder, rawer cavern of sorrow.
It's true that even with the creative atrocities the guitars fabricate, they have the potential to burgeon and evolve into so much more. I was not malcontent with any of the stuff I heard here, I actually fell in love with a few rare passages, and Pantheon of Blood did channel older, archaic black metal at times in the Norwegian tradition, evoking the purist in me, but a slight amount of distinction would still have been nice. Emotional conflagration, though, is an art that they've long savvied, and with ''Tetrasomia'', they are nearly perfect. The howls of the vocals are excellent, but the guitars don't seem to always be on par with them. ''I.N.R.I'' is definitely an exception, with the primal pangs of the guitar riffs perfectly swaying in accordance to the vocals, especially in the masterful chorus section. A lessened production value would also suit their style better, but it is up to them to hone their style with whatever adornments they choose to use on the full-length. But in anyway, ''Tetrasomia'' is more than worth your time.
Sunday, July 21, 2013
One of the major factors in inspiring Burialkult's musical inclination might be the sudden emergence of their salient fellow countrymen Antediluvian or Adversarial who channel the squamous and impious depths of black and death metal in the utmost nostalgic manner, though that's not the infer that Burialkult are strictly a byproduct of the aforementioned bands' success; on the contrary, their sound is quite different, despite originating from the same family tree, because if you could take Antediluvian as soupy bowl of grime and subterranean tastes than Burialkult would be the equivalent of an incendiary chili being served with raw beetroot and flesh. Burialkult is a fresh signing of the prolific label Blood Harvest which generally harbors interest for old school death metal bands, and thus surprised me with this out-of-league release. Needless to say, it doesn't matter one bit. The only thing that truly matters here is how fucking bloodied and raw these angry Canadians are, completely drooling over the cadaverous finesse of first wave black metal a la Bathory, Celtic Frost and Venom, with a healthy dose of material that would likely be extracted from some of the genre's late-coming pundits who wished to expand not upon the majesty of the music but rather upon its raw and destructive components.
Don't get confused, though; Burialkult are not even remotely enlarging black metal's characteristics, but are forming a belligerent, devilish set of artillery pieces from which to bombard the unaccustomed listener. Even for people who'd consider themselves ''veterans'' of the sound, Burialkult is absurdly primal and carnal, but thanks to modern production values, its seemingly degraded quality is bantered with punch and juice, which is the case with most bands in this field these days, but thankfully Burialkult doesn't smother us continually with broad, perforating riffing and keep things slightly interested by randomly shifting the sound quality. I was quite flummoxed to to hear the level of variation and hostility that drum patterns offered, because the fills are especially great when they're sewn onto lengthier chord progressions, and aside from occasional, frivolous fills, you'll have a verbose platter of pummeling blast beats. The palette of riffing offered is nothing spectacular as you may have guessed, but Burialkult does have two rather distinct weapons of choice: A more crowded set of second wave black metal tremolos that erupt with raw precision, and more accessible, groove-laden speed/heavy motifs that sound like Lemmy and his gang bursting through filthy streets with hellish motorbikes. I did also sense a subtle craving for thrash even though it was much scarcer than some other influences, but it helped spike up a few less motivated sequences.
There is variation to a certain degree, but don't expect this to be a record laced and embellished with veneers and intriguing crevices that keep popping up. Thankfully, Burialkult make up for some of their deficiencies in the riff department in the ambiance department. To be sure, the Canadians are adamant on keeping the eerie mingle of menace and craze at a discomfiting and dissonant level, and there isn't a single track that's not pervaded by this atmospheric formula, and moreover, they have some pretty decent ambient pieces like the lurching, ominous organ soundtrack ''Hossana In The Depths'' or the less effective ''Provocations'', and while I wasn't completely sold on the wicked atmosphere they conjured, I still had a kick out of it. The vocals are rabid and utterly caustic, inclined towards both the guttural and raspy facets of traditional black metal vocals. I'm sure that Burialkult are conscious of unoriginal qualities of their music, but the emergent focus here is the sheer bruising power this record has, because listening to this is like caulking your headphones with thorns and then proceeding to insert it into your hear. There are some ''bedroom'' black metal bands who can surpass this in terms of raw emotion and decrepit production values, but if anyone wishes to crack open a hear and go motorbiking around the city dump, ''A Call From Beyond the Grave'' is the rule to go by.
Desecrate The Temple
By Satan Possessed
Throne of Disease
Friday, July 19, 2013
I'm pretty sure I'm not the only who has had a kick out of recent cavern-dwelling death metal bands who teleport back to the years of old and seek to plummet us with nostalgia, no matter how many times we've criticized their bothersome existence. And yet, they come in such copious quantities these days that I have little notion of doing anything besides scoffing at these beleaguering trends, except get smacked with a different mallet every now and then. For those who need that extra breath of fresh air to escape the redundancy, but still want to somehow feel nostalgia splashing against their face, Dehuman Reign presents one of the better options for escapism. I admit that I didn't initially give the credit these guys really deserve, because these Germans seem come crashing out of nowhere, and they've instantly signed with the German imprint F.D.A Rekotz who presented us old school death metal aficionados a fairly impressive selection of releases. Death metal attribution that gathers it influences from Krisiun, Cannibal Corpse, Morbid Angel or Vader is not generally my cup of tea, giving the fact that I've always preferred ghastly smudges of grime and grotesqueness over straight-up, punchy USDM motifs, but I've found myself bowled over by Dehuman Reign's debut EP rather easily.
This undoubtedly nothing novel for even the rookie death metal collector; big, abrasive guitars denting holes in your cranial complex wider than whole cannonballs, induced with propulsive thrash chug affairs that are just as ruinous, but ''Destructive Intent'' doesn't merely hold appeal solely for fans of Morbid Angel, Malevolent Creation or Vader; the technically imbued narrative of its swirling melodies will retract fans of more modern death metal, and all the riffs collide with such dexterous unison that the melodic framework of the EP doesn't thwart the heavier ones, or vice-versa. The drums are pernicious, and just as destructive as the guitars as if the two aspects combined were musical reflections of a group of pissed off mountain trolls stampeding downwards from the mountain and into an obscured target. The double-kicks are great, spicing up the band's already veritable range of annihilation apparatus, and the fills are just perfectly timed and brilliant, serving as brief preludes for the upcoming storm. Besides the more staccato styled chugging orgies, the spiraling tremolos are also turbulent enough to wipe you off the face of the Earth, and they always seem to accompanied with less audible technical death metal fillers produced by the second guitar, picked at a rapid pace, and inevitably implying that the Germans were just as influenced by Decapitated as they were by the aforementioned titans of brutality. Speaking of brutality, there are similarities between this and the rather unsung US death metal group Brutality, which aren't half as remote as I would have imagined.
Perhaps the main reason I was tepid in approaching ''Destructive Intent'' is because they reminded me a lot of their label-mates Deserted Fear, who produced an unimpressive full-length last year that was very much in the same vein as this, but Dehuman Reign's attitude and semi-modern ballast of riffs was a serious selling point for me, and the Germans are spot fucking on this EP, no matter how unoriginal their core sound is. The production is hardly sodden; it's wreathed in earthen texture and is broad, much like the clear, yet obviously guttural vocal delivery which was simply another layer of shattering concussion along with the guitars and drums. The brief opener ''Prelude To Perdition'' is bound to confuse a few because it's so damn different than the rest of the EP, featuring trudging guitars and far more aural aptitude than the rest of the disc, with shrieking black metal rasps that rather contradict the vocalist's standard Chris Barnes inflection. Strange choice for an opener I admit, but I doubt a horror flick extract from 80's would suit them better. There's not really anything else to say about this record, except that it tops a good many other young death metal acts, so if you ever feel that your beheading procedure is taking too much time or feels like too much of a drudge, feel free to try ''Destructive Intent''. It's quick, and finalizing. Happy beheading.
Masks of Sorrow
Staring Beyond the Edge of Time
Wednesday, July 17, 2013
Australia's black and death metal underground is one of the most unforgiving in the world. Seldom do they manage to fail muster acts that persistently and unabashedly seem to praise demons, hell, and whatever sorts of diabolical content they conjure in their wicked minds, and with their adamant approach to the genres they've proved to be the absolute paragons of extreme practices. That said, Jarro Raphael's solo project Impious Baptism is no exception, recently releasing their scorching debut offering ''Wrath of the Apex Predator'', whose title I've granted numerous accolades, after sordid handful of EPs. Jarro, or J, as choses to name himself, has played in more bands that you can count. Just the names of Trench Hell, Cerekloth, Destruktor, Nocturnal Graves and Destroyer 666 are enough to soak the pants of a myriad of avid listeners of the ferociously oriented black/death anomaly, and ''Wrath...'' is guaranteed to soak quite a few more. Having listened to Impious Baptism's previous outing, ''Path of the Inverted Trinity'', I can safely say that J has improved upon his sound, making things even more fun while not entirely altering the rules.
''Path of the Inverted Trinity'' was a good fucking EP, despite its brevity; a caustic tour de force in the tradition of Revenge, Axis of Advance, Conqueror and Blasphemy, inculcating the notion of barbarous impiety with considerable strength and rawness, even when regarded alongside some of the bigger groups of today's black/death fleet. The new full-length hardly follows a different trajectory, but still, novel ideas and presentations are aplenty: the production, for one, is far more audible and accessible, while still keeping some of the grime and sodden grimness of the guitar tone; the riffs are somewhat more fleshy, with less emphasis of traditional war metal motifs and more of heavier, bulbous death metal structures that should remind listeners of Morbid Angel, Angelcorpse and Vader; and seething, hypnotic trace that ''Path...'' had so copiously stored is down to a lesser whiff of impurity. This alteration hardly reduces the quality of the album though, in contrast, the heaving, hammering force of the old school death metal tremolos are catchy and will undeniably cast a wider net as to rivet the attention of a larger audience, although they still lack innovation, so you get the sense that J was struggling more to find a combo densely applied demolition than to actually create a string of inventive riffs.
J's low pitched howls somehow resemble many other Australian vocalists in the field. They're low, sinister, but edgy, just enough to keep you relatively frightened and immersed at the same time. In spite of all this praise, though, ''Wrath...'' does admittedly have some flaws. It manages to surpass ''Path...'' in many separate departments and thus outshines it in overall quality, but the main aspect that I found to absent on ''Wrath...'' was that pungent, dissolute sense of evil that was conveyed effortlessly through the EP's narrow yet crude choice of chord barrages and poorly conducted production quality that made it a real war metal record. This may see like delving a little too deep into the margins of death and black metal but I feel obliged to state this: the accessibility of the full-length has connived the true devilish grin that the EP had possessed, undeniably replacing the patterns of gruesomeness with patterns of groove and bludgeon. Nonetheless, I did find a fairly adequate amount of formidable impiety in the album, be it in J's rancid vocal lines or the sheer atrociousness of the broiling guitars. The title track is one of the more explosive tracks on the album, bursting with fiery rage, while ''Release The Titans Part I'' focuses on some slower progressions, and nearly each track comes with a dark ambient that further explores J's conquest of occultism and hellishness.
''Wrath of the Apex Predator'' is not quite the brilliant war metal album of the year, or of recent years for that matters, because the catalog of bands in this vein is extensive and rich, but in terms of sound and structure J is competent enough to tick most of the boxes, though a record with more essence and freshness would have been far better venerated, but the overall strength of the record is convincing enough to go well with a helping of blood and goat's semen, continuing to corrupt unpolluted minds in the good ol' tradition.
Wrath of the Apex Predator
Rites of Illuminated Death
Axis of Lucifer
Tuesday, July 16, 2013
You could well say I was tedious when I approached Pest's ''The Crowning Horror'' for the first time as I was uncertain of what to expect; the cover suggested some sort of inbred of Witchery circa 1999, war metal pundits Blasphemy and Archgoat, Venom and some early Bathory records, though my apprehension was not too great since these gentlemen were Swedish, and believe me, Sweden seldom fails to deliver. Pest are indeed one of the most evil bands to come from Sweden, since the majority of the scene now seems to plagued with Swede-a-likes, bearing some resemblance to the phenomenal black/speed/thrash act Antichrist, but potent in being able to conjure something distinctly more sordid, cunning and evil. Given the band's sound and primacy, its devoutness towards the archaic roots of black metal, and their jumpy, percussive attitude, I didn't feel all too interested in Pest initially, but after channeling a handful of other, relatively derivative black/thrash acts, I concluded that the Swedes were actually better than I thought they were, as I they elicited some kind of growth policy upon me.
My estimations were roughly accurate; Pest tussle back and forth to bring back the black metal sound of the late 80's, although their sound is only remotely associated with war metal acts of Blasphemy's sort, and you could say that instead of directly snatching the aesthetic inclinations of Bathory, Venom and Celtic Frost, they throw in primordially dominated riffs into thrash and NWOBHM-like patterns, making the riffs all the more intriguing. Don't let this fool you though. The moment ''The Crowning Horror'' inaugurates, the listener is instantaneously drawn into a hybridized trajectory with countless bumps and crevices lurking along the path where the listener is hammered with some of the most flexible black metal riffs I've heard this year, but Pest somehow manage to draw an immense measure of vitriol into their mixture. The guitars are undoubtedly the unsurpassed superiors of this record, as with all of Pest's albums, I imagine; they're a multitude of strings confronting the unready listener with melody, and regular sessions of bludgeon, all meshed into a wonderfully filthy production level that, while negating any kind of obfuscation, permeates with guitars with a beautifully sodden ichor, and the drums are also crisp, a guaranteed trip to stimulating horror for old schoolers and more ''intellectual'' metalheads.
Perhaps the main trick that the Swedes have somehow managed to accomplish is filtering different genre progressions and patterns with the default formula, and nearly every track has something different in store for you, be it speed, NWOBHM, thrash, death or just a more caustic focus on traditional first wave black metal, and on any level, Pest are able to bring a viable product to the table. The entrenched barks of Necro imbue the rest of the music with further obscurity and menace, a dark, sinister timbre that mingles randomly around the concave path that the guitars keep flirting at. Indeed, one characteristic that draws a clear line between Pest any other band willing to exercise the predilections of first wave black metal is that no matter how haunting they are, the Swedes always leave a whiff of ridicule behind that's supposedly a byproduct of the music as a whole. Maybe it's just me, but whatever songs they play, the clash of the focal guitars with the wretched vocals creates an almost cheesy texture. ''Demon'', for example, is excellent with clear melodies underpinned with solid rhythm sections, but when the vocalist intervenes, the hymn of mockery begins, and the quality thankfully goes higher instead of dropping. ''Volcanic Eyes'' is even better, perhaps my favorite piece here, with stark speed/heavy riffs eventually morphing into heavier black/thrash motifs, the puerile barks of Necro once again joining the choir. ''Thirteen Chimes'' builds up with near-immaculate precision, like a reflection of the band's doom-inspired tenacity; a feast of chugs and gnawing horror.
The Swedish duo is spot-on on ''The Crowning Horror'', though I wouldn't go as far as to say they're spotless, as certain minute problems of redundancy did stain the shirt a little. Nevertheless, I was, in the end, pleased to find a band that craved for a sound that may not be original, but was desperately needed in today's metal universe, inserted in the right amount to the band's unique texture. ''The Crowning Horror'' would really have been a good finding if it were uncovered in the late 80's, a perfect band that would arguably influence second wave Swedish black metal mavens Arckanum, Mork Gryning, and so forth. This is an album that vitalizes horror and morbidity through its use technical and less dark, melodic motifs, but it's still haunting as fuck, embracing the meaning of its title as fully as possible.
Tormented is essentially a composite of Robert Karlsson and Dread of Edge of Sanity, who decided to hire another guitarist and a drummer to revisit the olden landmarks of their homeland, such as Dismember, Entombed and Grave, instead of going for another, technically imbued modern Edge of Sanity album. Their debut ''Rotten Death'' was such a crafty, nostalgic record that quickly became a rather popular release among other Swedish death metal mavens, and it was popularized partly because it came just in the right time, when the old school death metal steak was nearing a well-cooked, juicy thing of flesh and bones that any purist at the time would eagerly and voraciously devour, but it seems now that the band has blundered with the advent of their sophomore offering, ''Death Awaits''. Simply put, that deliciously pungent well-cooked stake is now overcooked, and it ain't so tasty anymore. Truth be told, I somehow saw this coming. Amid myriads of bands taking the same, ghoulish, chainsaw-beaten trajectory that promptly arrived after Tormented's debut, how could the band possibly find a way to elude vexation and repetitiveness, and find salvation through a newly attached array of artillery? There have been a couple of bands who have successfully defeated the plaguing tenuousness of this disease, but many have succumbed to their destiny, bowing down to the ancient masters and forfeiting the same prognosis, and Tormented is unfortunately one of these bands...
''Rotten Death'' was never an original record, and it was in fact one of the most generic of its kind, even in 2009, but it was fun, memorable and it payed importance to the individual strengths and twists of the riffs, unlike ''Death Awaits'' which fails to appease the listener with genuine riffs and nihilistic openings, thus instantly smothering the listener with a load of festering chainsaw riffs. The same production quality is there, the massive, lurching guitar riffs that erupt into frenzied d-beat excursions are there, the L-G Petrov inflection is there, so why the fuck is ''Death Awaits'' not on par with its predecessor? Here's why. While the overall sound may roughly add up to the same sum, Tormented aren't lacing their musical preferences with intrigue and menace, and you can't depict the image of a fiendish demon-skeleton chasing you with a scythe in the middle of the graveyard half as vividly as ''Rotten Death'', and secondly, the guitars feel battered and exhausted, (although your ears are probably just as berated from hearing an excess of this stuff) with hardly a tinge of excitement to them, rumbling along soullessly. I'll confide that the vocals still sound fresh, a demonic zombie creeping between gaping holes in the guitars, which makes them audible but still muffled and cavernous, but the drums are just as jaded as the guitars, and this time they're upfront, nakedly displaying their lack of variation, and as if that wasn't enough, they're spiky and nettling, to the listener's dismay.
The basic thing that drowns ''Death Awaits'' is not its lack of focus but in fact its over-dedication towards focus. The hinges of the album are screwed so tightly that it leaves little or no breathing space for the listener, and this is certainly not the kind of music you'd want to the immersed in. There some fairly strong tracks though, like grindcore-paced ''Black Sky'' that's narrated by a haunting wisp of melody while the guitars erupt outrageously above, and the opener, the title track isn't so shabby either, an introductory discourse of raging, warlike riffs that could easily belong to ''Rotten Death'' itself. Of course, beyond the level of redundancy here, I'm sure the song lengths contributed considerably to Tormented's degradation in quality here, because songs like these are meant to be no longer than 3-4 minutes, and the majority of the songs clock at some 4-6 minutes. An unremitting orgy of decrepit, rotten riffs is what Tormented allegedly aimed to do here, and while they succeeded in achieving this goal, ''Death Awaits'' holds as little plausibility as any other Swedeath drone out there, because hell, even the lyrics have expired in originality. I would have loved to see the quartet expanding their retinue and casting a wider net whose reach would not only grant them the same amount of attention they sought but would have also raised their status in the metal underground. Yet, despite all its flaws, this is still some solid old school death metal that fans of Horrendous, Skeletal Spectre, Zombiefication and Necrovation would do well to get their hands on.
Insane With Dread
Monday, July 15, 2013
Believe it or not, my best findings over the last 2-3 years have been in the field of black metal more than anything else: thrash had already lost its revivalist touch after 2009, and few records besides the olden, antique dimensions of death metal interest me, and there were only a handful of stupendous releases on that department, the remainder being a mostly consistent, but unabashedly generic metric chock of bands sprouting out of pretty much anywhere around the globe - thus, some of the most enthralling releases of recent years belong mostly to black metal. Somehow, black metal musicians are able to achieve salvation, or rather, musical incarceration through their own predilections, incorporating an enormously vast choice of sounds into traditional parameters, ranging from folk metal influences to ambient preferences to progressive rock, and while this rule does obviously apply for all black metal bands, it does take into account a considerable number of acts. Of these refreshingly savvy acts I've found Germany's Draumar to be one of the most beautiful and atmospheric, through the usage of orchestral sounds, a superb EP that shines nearly all the way.
This is absolutely soothing music, and certainly not your traditional kind of ambient black metal. There are indeed acts such as the notorious Leviathan or Oranssi Pazuzu that use their aural tendencies to encase the listener in utterly nightmarish profundity, evoking despair and trauma as effortlessly as putting a mentally disfigured person behind bars, but Draumar contrasts entirely from such acts, firmly providing a warm, spectral and haunting layer of pulchritude. You could say that they were influenced by Summoning in many ways, as the atmospheric reflection of many passages seem to be befit for being a soundtrack covering a lost footage of The Shire in the Fellowship of the Ring, but then again, Summoning is something far more glorious and unapologetic in its triumph, a right soundtrack for the defeat of Sauron. The thing about ''Gebirge'' is that it's 85% ambient passages and only 15% guitars/drums/vocals intertwined with the atmospherics above, so it's admittedly a rather stunning, but slow-paced listen, despite its brevity. The opener, ''Auftakt'' is a mellow introduction ceremony for the upcoming wave of musical transcendence, and my favorite track is probably the follow-up, ''Gebirge I'', which initiates with synthesizers redolent of Ihsahn's work on Emperor's debut, and gradually unfurls into a diaphanous spectacle. The vocals are raw, winter-beaten and raspy to the core bu somehow they fit the sound effects perfectly, and the guitars are such crisp expedients that they balance the weigh of the record with heavenly succession.
For those who might scoff at the ''orchestral'' tag: I advise you to listen before you criticize. This is no collection of cheap fillers, and certainly not some cheesy horror flick your local death metal decided to use as an appendix for their disjointed Autopsy duplicate disc - these are real fucking instruments being played with accuracy and technique, implemented brazenly into the music. Pianos. Acoustic guitars. Flutes. Violins. All adhered to different sections of the EP, making it all the better. ''Gebirge II'' is nearly as good as its successor, running for some 7 seven minutes, and in versatility it never seems to lack material. Draumar's fresh take on black metal does not seem to deviate all too greatly from some of its peers, Summoning included, but it's sensational in every way that I can think of with my sole complaint being the lack of engagement, that, despite being launched towards such speed freak as I, did not seem to matter so much; a mere peccadilo of a stain amid a beautiful rainbow. That said, the EP was too short to be fully effective as well, running for about 20 minutes, but still, I can't say there was a moment where the the surreal and dazzling approach of Draumar didn't stun me. This is the kind of music that really needs to be taken to a larger scale; I heartily encourage garden variety Norwegian black metal groups to cut their ragged, uncircumcised music short to give bands like Draumar a little more space. I'm determined to see ''Gebirge's'' follow-up, because despite the soothing attribute of the music, the German can stimulate many a listener with ''Gebirge'', and the prospect of a 60+ minute ''Gebirge'' is highly exciting. Well, at least, if they continue this way.
Saturday, July 13, 2013
Amid a frenzied, and overly prolific eruption of molten death metal lava, I'm sure I'm not the only one in desperate search for good, quality death metal that has its earthen roots buried deep within the unfathomable pit olden masters. There are, thankfully, a handful of record labels that are still able to conduct business with a goodlier bunch of death metal nostalgia seekers every now and then, and especially following their ruinous signings of a great pack of revivalists, Iron Bonehead has proved to be one of the worthiest imprints among the bunch that includes such labels as Hell's Headbangers, Razorback, Hellthrasher, and a few more. Their releases have primarily come to my attention when I started receiving promos from them - something that I'm truly grateful for because I've been acquainted with a deal of excellent bands. Without digressing too much, I'd also like to imply that I can't seem to find a particular reason for so many old school death metal bands being so egregiously bad, besides the fact they are mostly highly generic and because usually, the original corpulence and freshness of their music seems to get relegated and diminished over time as they start to deviate from novel perspectives. Germany's Beyond, however, is one of those bands that neither purists nor more versatile metalheads would scoff at - they're powerful, channeling the dark interiors of archaic rot and ichor, and while they don't necessarily bring anything new to the table they still manage to incorporate and exhibit their influences in a novel fashion, kicking asses right away.
All the influences seem to pinpoint towards your standard, garden variety cavernous death metal culprit, seamlessly burrowing traits from Incantation or from newer acts like Antediluvian and Father Befouled, which is a direct Incantation throwback anyways, but I promise you, the level of excitement and intensity, infused with scintillating, sweltering compositions are good enough to give even Incantation a damn run for their money. First of all, Beyond are despondent, but they are no way as ritualistic as, say, the aforementioned Canadian giant, and the cavernous complex of the record is merely used a fissure to manifest the broader spectrum of riffing. In terms of riffs, ''Fatal Power of Death'' chugs away into black/thrash motifs just as frequently as it harbors interest for Morbid Angel, Death and Angelcorpse, and usually, the ferocity and speed of the guitars will rise to such extreme heights that you'll feel as though you were sucked into nebulous void of war metal, an absolutely devastating feast of Revenge, Conqueror, Diocletian and Blasphemy, and as if they hadn't sufficiently strewn corpses along the patterns of the two most titillating sub-genres of extreme metal, they bludgeon the listener with a further helping of unbridled thrash mayhem; a bevy of cudgels beating the living shit out of you in a pitch-black void of confusion.
While the song titles may seem generic when contrasted to other bands of this field, they certainly do their job well in living up to their names. ''Expressions'', the opener, commences with a seemingly horror-induced intro of synthesizers and sound effects, before unraveling promptly into a sulfurous tempest of black, death and even grindcore redolent of Anaal Nakrath's first few discs, and pretty much each track features a blisteringly spasmodic lead, each one churning effortlessly with the uncircumcised array of tremolos and chord progressions. ''Merciless At Heart'' and ''Whirlwinds'' continue to prolong the weather forecast of cavernous acid rain and unceasing tornadoes in the same fashion as ''Expressions'', but the title track livens up the diversity department by sauntering deeper into moody death metal territory, death/doom interpretations that reek of Autopsy, Fleshcrawl, Asphyx and Cianide. Not only that, but I also got a sort of technical vibe from ''Fatal Power of Death'', something that I really enjoyed. Obviously, this is in no way a primordial way of conveying Suffocation styled riffs into the music, but much like Necrovation' eponymous sophomore, the riffs sound refined with additional technical elements, enriching an already dense and fresh collection of ideas.
Let me make something clear here: Beyond are not your standardized, derivative old school metal revivalists, but they aren't entirely novel purveyors of fear either. Only, the ideas an expressions are allocated so excitingly that a formula previously presented is hacked into innumerable pieces, scattered along with a new order, and when the Germans play that renowned piece of classical abyss and blood, their avidity and success becomes inevitable. This is a record that's just as bloodied and decomposed as any other old school death metal revival album out there, really, but the way it's been careened and depicted makes it an excellent, almost inventive listen. The tracks are swirling and turgid with expositions with just instrumental capability anyway, and when you put the vocals, the crude, gargantuan growls of an aquatic sea giant, into the mix, you've practically got yourself one of the best death metal records of 2013, even with the possiblity of more quality cargo to arrive later in the year, and as if the 7 swelling compositions they penned weren't enough, the quartet finalize their masterpiece with a stimulating, unremitting and absolutely indoctrinating epic, 12 minutes of numbing hypnosis that you won't forgot easily. Beyond's previous EP and demo might have been utterly disgusting, but this is much, much more than disgusting. Listening to this is the musical equivalent of delving into death metal's demented subconscious, and exploring its bleakest, most blackened dens. If you haven't acquired this already and you're still drooling over Antediluvian, Teitanblood, Incantation, Grave Miasma, etc, then you should. Pronto.
Merciless At Heart
Consuming Black Void
Thursday, July 4, 2013
Night Demon's entry into my extensive compendium of speed/heavy acts to emerge in the 21st century is nothing of a seminal event, but I was nonetheless content, having discovered another band with a solid release to kill a good many minutes. Formed in 2011, our information on the band is fairly limited, with their sole material being their eponymous EP released last year, and my awareness of the band began when I received a promo of the EP that had been reissued by the traditional heavy/doom imprint Shadow Kingdom Records. The Californians offer nothing more than genre-standard heavy metal enmeshed with a dose of speed, imbued with a strong, refined production quality that renders the four brief tracks found on this EP so robust. ''Night Demon'' is composed of roughly equal proportions of Maiden, Priest, Angel Witch, Raven and Saxon, and maintains its muscular exposition sturdily throughout the entirety of the EP without blundering, but it only does so by swaying along the safer borders of traditional heavy metal.
For one, I was actually more absorbed by the cover art and the conceptual preferences more than the music itself, even though I did sometimes lose myself in the wicked, swirling youth of the headbang-friendly riffs. I don't know why, but I certainly found this fantasy-induced concept to be overly attractive, maybe because it explored a somewhat nostalgic and lightweight margin of swords, sorcery, and, obviously, demons, each song delving into a slightly different subdivision of the concept, for instance, ''The Chalice'' had a more medieval, religious vibe to it, with the exception of ''Ancient Evil'' which purely pervaded the listener with Lovecraftian images. That said, there is a surprising amount of variation between each track, with each track, like the lyrical choices, focusing on marginally different breed of garden variety heavy metal. The sound as a whole is professional however, with little or not flaws in the presentation department, and in truth, while this may not be a paragon of speed/heavy metal, I loved the rumbling twists and turns of the guitars with melody swooshing by every now and then, and the entire webbing of riffs was surprisingly complex, brazen, and certainly very catchy.
While this may be for the most part a devout homage to the aforementioned gods, and even Motorhead taking into account the bluesy rage of the guitars and pummeling blasts of the snare on the first and fianl tracks, I did occasionally taste a sprinkling of power metal in its archetypal forms, something redolent of early Fates Warning and Jag Panzer. The vocals are blunt and powerful, nothing overly special, however, when they collide with the backup vocals to harmonize a truly harmonic piece of sound that I thoroughly enjoy is created. Night Demon certainly performed well on this EP, especially since it's their debut offering, but I do think that solely being staunch stalwarts of the art won't quite make them experts in this particular field of heavy metal. There were some subtler, heavier moments that arose with minute precaution into something of a more epic deliverance, like on the chorus of ''The Chalice'' (which I adored), but the Californians need to strew together many more strings to render the web truly inventive and titillating. Night Demon resonate like a faster answer to their fellow countrymen Visigoth; it's coherent, consistent and quite seamless in its presentation, but lacks an inner essence. Otherwise, it's simple, awesome music for purists. Hail.
Friday, June 28, 2013
Sweden's Desolator is nothing but a fresh addition to the tirelessly growing old school Swedish death metal compendium, and yet, despite being highly aware of this fact, for some reason I found myself pursuing their debut full-length which much greater avidity than I would have imagined. The cover art might have been a factor in inducing my boner-of-metal here; a generic yet entertaining caricature depicting a gigantic, ghoulish skull trapped between the two contours of an archaic crypt entrance of some sort, the huge, heaving mass slowly sinking into a morass of blood. Although I'm certain recurring listens of the promo song ''Gravefeast'' that the band uploaded prior to the album's release also had an impact on my increasing anticipation. Needless to say, Desolator's origins are overly blatant - they use up the most popular aesthetics of the classic Swedeath sound - though I was surprised to hear that their simple trajectory was adorned with sprinklings of spurious thrashy fun, making for a listen only marginally disparate than its peers such as Miasmal, Tormented, or Entrails, but still relatively entertaining and rarely memorable.
Listeners will probably sense the great irony in the album's title right away. ''Unearthly Monument'' is actually a pillar built with copious candor and unabashed dexterity, displaying an absolutely earthen sound to say the least. This is not to say that they've gone completely soft with their tone and influential representations, but the guitar raunchy, crunchy miasma has been replaced by a simpler, and still quite primordial aesthetic. The album is a barrage of fluent tremolos interwoven with simple chord ruptures that flow in a fairly simple manner, often resembling some of the less abusive death metal acts of the early 90's like Bolt Thrower, or sometimes even the more narrow-minded and straightforward death/thrash acts of the 1988-1992 time period, a pulsating stream of gore and muscular incursions similar to that of Epidemic, Solstice or the Slovakian rarity Gladiator. There was also a number of creeping riffs that resembled Autopsy's ''Severed Survival'', but for the most part, the album makes it clear that it does not have any underlying messages, but a brutal set of seasoned, crazed death metal riffing fit for purists. The band's broad pattern of riffing and rudimentary interpretations will undoubtedly earn them an audience of old, but folks who are looking for innovation won't find anything particularly entrancing here, I'm afraid.
Thankfully, most of tracks are kept nice and short, and with a certain amount of devotion concerning the individual riffs, not to mention the way the guitar has been smoothly fleshed out of the other instruments, you're not bound for another mundane cavern hike where the swooshing guitars swirls with the rest of the murky instruments, making an incomplete and irrelevant mess. I love the honesty of the production, especially that of the guitars and drums, the former being, as I mentioned, plain and bare, like the tones of Cancer and Obituary during their less refined days, and the latter having a sharp, crispy and spiky tone that renders it discernible from the rest of the mix. My favorite track here was ''Bludgeoned, Beaten And Berated'', which name-wise resembles Cancer's ''Hung, Drawn and Quartered'', and Cannibal Corpse's ''Striped, Raped and Strangled'', plus a few more gory pieces of the death metal universe, and it perfectly lives up to its name, smothering the listener with a bombard of chugging death/thrash excursions, followed by a tempest of tremolos. The vocals are hardly a novelty, your basic low guttural growls that echo with ferocity, as are the leads, which are a collection of sly little solos randomly dispersed across the album. Indeed, ''Unearthly Monument'' is nothing much more than a loyal homage to the death metal gods themselves, but despite its simplicity, it has the potential to bludgeon the fuck out of any listener, voluntary or involuntary, and is a pretty good improvement from their earlier composite of demos and splits. Old school purists need only apply to feel the booming, rancid bliss.
Bludgeoned, Beaten and Berated
Mass Human Pyre
Wednesday, June 26, 2013
Given the obvious visual preferences of the band, Ancient Crypts is bound to erect a superfluity of speculations concerned with the band's lack of motivation, and these speculations will arise even before someone actually listens to the 22 minute tape, and hell, most of them will be accurate judgments, because this Chilean death metal horde is in no way giving birth to a new genre complete with all its technical and aural fulfillment, but that doesn't mean the group can't pack a punch with this ancient, decrepit sophomore demo. I would have hoped that, being in the same league with their ambitious label-mates Bolzer, ZOM, and Beyond, the Chileans could have embarked on something even only marginally different from a classic rehash, but the contrast between this, and creativity, is the virtual equal of the contrast between night and day. However, all is not in vain. Despite the sheer simplicity of their efforts and compositions, Ancient Crypts have somehow conjured a subterranean vortex of murk, complete with raw recording qualities, smashing, abusive riffing, and a one-time ticket to an abysmal land that's fairly frightening and vivid in its depiction of darkness and all things ominous.
This is actually some great stuff; the Chileans might not have tried too hard to tweak the aspects of the originality department, but they sure have some horrid, wrangling riff work ready at their disposal which they diversify in accordance with the varying tempo of the tunes, carnal, decomposed conformity that will make death/doom fans rejoice to enjoy altogether. It's easy to point at Ancient Crypts' influences, because whether you're an experienced OSDM connoisseur or some kid just newly starting to explore the beleaguered genre's fundamentals, ''Devoured By Serpents'' has some scary, tempestuous material hidden in its deathly vault that will easily make your bowels rumble with anticipation and enthusiasm. It's almost as if the Chileans just randomly snatched a handful of tags from a box of influential names, and proceeded to play by the rules of those acts. There's Finnish death metal aplenty, a ghastly exposition of Convulse, Demigod and even Abhorrence when you're listening to the more eerie variations of the blasting tremolo sequences, Incantation, which should be obvious by now, some Death circa 1987-1988, and an occasional admiration for death/doom acts in the vein of Winter (slightly less evil), Asphyx, Cianide, and less known Finnish obscures Rippikoulu. Some of my favorite moments include the mingling, tingling death/doom harmonies on the title track which sound like interpretations of early Autopsy, and the blasting, ruinous chord progressions of ''Between The Mortuary Remains''.
With such brevity and a mere lack of diversity there's not really much to say about Ancient Crypts. The demo is indubitably a bred of the previously mentioned acts in every possible way; the riffs, the drum patterns, the colossal, heaving density of the atmosphere, and the guttural snares of the vocalist, which, at faster picking moments resemble a somewhat bulbous version of your atypical death/grind barking. Yes, I did occasionally get a sense of repetition seething through wretched pits of the demo, and to be honest there are many other groups that are producing A+ material that tops this in so many ways, but the band's youth and eagerness negates utterly stark criticism. Besides, all those excellent OSDM acts that we venerate and adore today were, in fact, quite like these gentleman at some early point of their career. Thus, I can do no more but recommend this to fervent tape collectors - it hardly deviates from the norm but kicks copious asses while sticking to the safe route - so give them a chance and what do you know, one day, they might blossom into one of your doppelganger favorites.
Deep Into the Ancient Crypts
Devoured by Serpents
Tuesday, June 25, 2013
For many, parting from a decidedly modern sounding aesthetic of black metal, especially if you’re an aficionado of fresh purveyors of grimness, is an unmistakably difficult notion, though some will obviously be more induced by old school characteristics rather than the voluptuous, youthful material that they seem to be fed up with. My point is that every now and then we need to delve into our wretched, raw past, not necessarily by traditional means but usually through the musical skills of newer acts, so that we may have a larger scope of the scene around us. However, bear in mind that this little rule has been applied to the black metal tag for demonstrative purposes and not anything else (Like death metal; we already have more bands than we can handle in that area). The subjects here are the recent Quebecois frantic Neige Eternelle, yet another desolate, somnolent cascade of mourn doused in French titles coming from the Montreal black metal imprint Sepulchral Productions; a group of murderously cunning entrepreneurs who caught my attention with a flurry of excellent releases as effortlessly and slicing molten butter.
The Canadians aren’t brand-new, but they’re still pretty young, having formed in 2008 and having solely one demo and a live album at their belt. However, their self-titled debut album is perhaps the most unmitigated, spectrally abusive records I’ve heard in a long time, tracing its original aspects to the early efforts of the second wave of Norwegian black metal, imbued with a carnal, frosting ferocity that could be related to the savage, sluggish antics of early proto-black metal acts or seminal black/thrash works from the late 80s. If I had to give rough description of their swollen, frigid complex of riffs and atmospheric tenets, I’d say it’s a cross between some early Burzum recordings, Darkthrone circa 1992-1994, Ragnarok’s ‘’Arising Realm’’ and Ulver’s ‘’Nattens Madrigal…’’, with a frenzied splash of early Sodom thrown in for a good measure. Of course, with its influences so blatantly rooted to the early and much-lauded examples of black metal, you’d hardly expects ‘’Neige Eternelle’’ to be the eccentric, majestic beast of modernity, but with a terrific sense of agonized, demented riffing and dilapidated production values supporting the stark contrast between real life and the gelid, cavernous imagery created by the aural textures of this album, you could do no wrong entering to this haunted cavern, the antithesis of a warm and inviting amenity.
The riffs are utterly unremitting and compellingly fierce, roiling amongst a wall of charnel noise. Pick any track from the presented 8, and I guarantee you’ll be experiencing the final glimpses of light of a man trapped in some primordial den that’s about to collapse from the pressure of multiple ice stalagmites, some unmentioned burrow from the Mountains of Madness. Despite the minuteness of the influence spectrum, the riffs are abrasive and they don’t give a fuck about what you think; bouncing off a hidden mountain burial ground and striking you with voracious, static tenacity. Give the patterns that are constantly followed and simplistic chord progressions, there isn’t even much innovation in the riffing, yet, as stated, the pouring lament and mourn make you forget the sheer lack of sophistication nearly the entire time. The howling, raucous vocals are great in the least, and sometimes morph into these horrific wolf howls which echo alongside the misfortunate guidance of the somber wind.
Perhaps individually there’s not much to scrutinize, but introspecting the entire 43 minute span of this record is a truly rewarding experience. There were some minor hindrances that escaped even the densest gatherings of anguish, and admittedly this is not the best black metal I’ve heard this year, but Neige Eternelle (which, by the way, translates into eternal snow, a very fitting moniker) is driven with a pure and ferocious candor that has been solidly executed. The prolonged stinging of the vocals kept me constantly stimulated and irritated (in a good way), and the riffs themselves are hypnotically cold enough to bury me in a six feet deep grave of snow. Through its successes and minor miscalculations, ‘’Neige Eternelle’’ is a goodly pick for Sepulchral Productions and a record worthy of any old school black metal enthusiast’s attention and unflinching fervor. I'm sure nobody was expecting this to be some soothing jazz medley, judging by the album art and album title, but still, when you enter, there’s no way of attaining salvation. Hiding in the frost-peppered forest will only postpone your demise. Doleful, winter-beaten revulsion.
Cri de Guerre
L'appel de la Mort
Pluie de Coteaux
Tuesday, June 18, 2013
As if my first impressions on the two new promos delivered by Montreal imprint Sepulchral Productions wasn't positive enough, the label has beset me a further addendum of bleak, desiccating black metal from the unexplored, and undeniably frosty dins of Quebec. The former releases I heard from the record label were both very strong releases; ''Lys Noir'', a tempestuous maelstrom of doleful pain, and the eponymous debut by Neige Eternelle, and even rawer contemplation of some of the grimmest of landscapes, however, the fresh material by Sombre Forets has distilled more than any of them. Sombre Forets, which translates into dark forests in French, explores the bleakest corners of mid 90's Norwegian black metal and the distressing frameworks of Leviathan and Xasthur, though I was shocked to hear that the man behind the entire, astonishing orchestration, Annatar, was able to insert a desolate, unforgiving and ultimately fresh sense of originality into the mixture, forming a disturbingly remote weaving of guitar riffs and other aural additions which render the album so frighteningly real. ''La Mort Du Soleil'' is a brilliant soundtrack for a solitary gaze into a frosty nightscape...
In truth, inconsistency is the key to ''La Mort Du Soleil''. Not having listened to the band's previous outings, I don't know whether this is a distinct style Annatar has constantly displayed throughout his backlog of works, but as far as this record is concerned, the structural preferences render it the one most queerly eccentric records in black metal. Surely, ambient passages and their random distribution is nothing of a novelty; in fact, it's been done for as long as black metal can remember (excluding early proto-black metal), but the actual guitar work is jointed flawlessly, and often incoherently with the soundscapes, piano passages, and ambient sounds, eventually weaving a world of sorrow and emotional catharsis which I am, even after countless spins, uncertain of. The listener is swallowed up into the somber entity, which is depicted in the mesmerizing cover art that I can only relate to Necrovation's self titled sophomore in its ways of showcasing the gushing, ebbing motions of the wallowing tides, rocking dolefully amid a momentous storm, but ''the destruction of the sun'' is so utterly convincing in its thematic display that even the vague glow of the sun among the swirling ocean tides is simply too bright.
Yet, in spite of all the haunting beauty, there lies a problem. There is always a problem. The harsh truth is that ''La Mort...'' is too inconsistent to be fully effective. The riffs are great when they are unleashed upon the listener; mirages of harrowing, discomforting chord sequences and intense, moody tremolo barrages, and constructed with complete avidity and savvy, and I'm not even excluding the less transparent open chord progressions that seem to sway along with the many grievous facets of the ambient passages, but such moments of intensity and action are, unfortunately less frequently exhibited than the ambient sequences themselves. This leaves a huge, tiring gap in the very middle of the album. The terrific winter-assaults of ''Brumes'' and ''La Disparition'' kept me wanting for more, substantial material that I could actually grasp, but so many of the other tracks disappointed me with their lack of mobility and adherence that I felt as though I was drowning in a forgotten void of snow, a multitude of ice shards craving holes in my torso simultaneously.
In all, listening to this record was a bitch for me. For the most part, it was like a game of Scrabble. I rarely had the letters I could utilize to form a proper word offensive to throw my opponent off guard, but when I was lacking in useful letters, the entire articulate quality of my game felt like it was destroyed, and I continually kept reaching for the letter-pouch, hoping to acquire a letter that would somehow be useful. The guitars were simply perfect, as I described them above, and the eerie, echoing vocals of Annatar is a bleak howling of wind that pervades the entire storm-ridden ocean portrayed in the cover art. The overall instrumentation is incredibly thick and suffocating, with not a moment where the dying sun showed me a last glimmering spark. Not a single moment. I always kept my fingers crossed for something big, something that would make the entire album the near-flawless masterpiece I expected it would turn out to be, but to no avail. However, all is not in vain, folks. Connoisseurs of atmospheric black metal who are into deep, emotionally engaging moments of aural misery will adore this, and as for me, I certainly liked it, but I would have loved it to death if it weren't for those long, jaded periods of boredom.
Etrangleurs de Soleils
Arguably the best part pf receiving random promos is unearthing a new find that can be held a higher level then the rest of its mediocre counterparts. I had, having little idea of the band's formative aspects or background, initially perceived Monarque's ''Lys Noir'' to be just another ambitious daisy in the garden, sprouting out of the dirt eagerly, and awaiting attention. Only later could I comprehend the fact that I had made a terrible mistake, tossing away the Canadian duo's sorrowful third full-length. Monarque's roots are deeply buried in Quebec, which explains their fervor for French titles. For those both accustomed and unaccustomed to the Canadian's sound, ''Lys Noir'' is cascading waterfall of undoubtedly bleak, razor-sharp riffs, and atmosphere that engulfs the entire riffing station like a heavy, smoldering cloth, and it's simply one of those releases which hardly reinvents the wheel, but proceeds to render it more flashy through a strong and keen sense of musicianship and judicious experimenting in familiar territory.
As I explained, ''Lys Noir'' merely stretches the innumerably skewed aesthetics of black metal, but delves into combinations that are perceptible mostly as antique, but are somehow still doused with a somewhat pungent touch of originality. I'd say Monarque's musical roots are a cross between numerous inclinations of the Scandinavian black metal scene which exploded in the mid-early 90's. Monarque is crude to an extent, and the ambiance of the entire record is an entrancing spectacle of mourn, which means most of their atmospheric tenets were snatched from the likes of Darkthrone (the first three records), Carpathian Forest, or perhaps the Greek black metal masterminds Spectral Lore, but at the same time, the duo is modest, and the riffs are filtered with incorrigible tenacity, relating strongly to more flexible acts such as Arckanum, Forteresse, Emperor or Ragnarok, bearing the posture of a voracious wolf crawling amid the snow, diligently pursuing its prey.
I absolutely love the mournful indulgence the record sometimes dives into, showering the wary listener with a further incursions of deep sorrow and hypnosis. ''Comme Des Vers'' and ''Mes Condoleances'' perfectly exhibit this, quaking the rest of the record with such magnetic, titular strength that I was left utterly destroyed. The rest of the band's arsenal disposal is rather a savage bigotry rather than an empowering eclipse of mourn. ''Vigor Mortis'', ''L'appel de la Nuit'' and ''Comme Des Vers'' are all laden with such wild riff arrangements, piercing and utterly frigid, something like the latest Thy Darkened Shade disc, but devoid of any nihilistic qualities that would have otherwise turned them into crazed war metal act charging at full force. As I said above, ''Lys Noir'' does not really have a brilliant intake of intricacies, but there are subtle joints that pop up here and there, though the most resplendent atmospheric attraction for me was the rather infrequent usage of the synthesizers, doleful tempests of sound that beautifully bind with the raucous riff-work above, forming the ultimate companion for a desolate mountain hike in the Andes.
The texture of the drums have been adjusted quite well, sounding resonate enough to have an effect but as to not disturb the overall coherence of the record. Monarque (the guy handling the guitars, bass and vocals) has a nice, vivid rasp which echos as efficiently as any other vocalist in this field of black metal, with little diversity but much harrowing quality. Individually, the only track that was the most distinguished was ''Solitude'', a near 3 minute ambient passage with soothing acoustic guitar medleys and classical grandeur, and it my humble opinion that Monarque's biggest loss here was the lack of proper distinction. Certainly not a major gripe considering the entirety of the album, but I thought I could have further satisfied is a feeling of quandry was evoked with only putting a tad more thought into the compositions. Nonetheless, the Quebecois have performed very solidly here, making them one of the more admirable black metal bands to emerge in the last decade.
L'Appel de la Nuit
Sunday, June 16, 2013
Zombiefication are yet another addition to Mexico's burgeoning old school death metal scene, and yet another band that straddles the conceptual, thematic and muscular tides of Dismember, Entombed, Grave, etc., forging an iron and cascading barrage of Swedeath riffs that are undeniably all too familiar. I was originally exposed to the group their EP ''Reaper's Consecration'', a worthwhile effort that pounded skulls and rocked skeletal beings just as hard as any other Swedeath act out there, and being released on the notorious Pulverized Records, a semi-underground label that made a name for itself by hiring less known Swedeath doppelgangers from random places across the globe (Graveyard, for instance, from Spain), I believe that the Mexicans attained publicity and success that they previously could not acquire with their debut full-length. That said, Zombiefication's style does not fill the bill for the classic Mexican sound. Not as atrociously scintillating as the wretched Shub-Niggurath with their demos from the early 90's, or as cunning as the more recent offerings of The Chasm, but still, amid a nebulous tenor of bands, Zombiefication finds its way to memorability and distinguishment.
What really baffled me is the distance made by the Mexican duo over less than a year. Despite the avid, seemingly ambitious release it was, calling ''Reaper's Consecration'' a highly enlightened and innovative offering would be quite far-fetched. When I listen to ''At the Caves of Eternal'' right after I listen to the EP, I'm nearly taken to an entirely different atmospheric world, with generic, vehicular urges of ''Reaper's...'' replaced with a more seasoned, judicious sense of composition and the craggy ambiance exchanged for a much darker, and even beautifully oriented one. I'd say that the Mexicans switched their style from rehashing some hectic, ragged grave robber to a mature serial killer who has countless instruments of torture and murder veiled underneath a long, polished jacket laden with pockets. The duo's style now feels like an edgier and even slightly black-metal oriented version of Necrovation, who, with their self-titled album, completely blew me away last year. ''At The Caves of Eternal'' isn't as good as ''Necrovation'', but I love the fact that it unfolds with primal, brute simplicity, but the explores a range of musical preferences and dexterous approaches that a mad caveman would strive to comprehend even in the slightest sense.
There's a rich, booming texture that binds with the abysmal atmosphere to create a frightening horror background. Not merely as terrifying as some of the recent finds I have exhumed, like the new Vassafor or Cultes Des Ghoules album, but still a spectral wave that befits the band's brand of heavy, churning brutality. Of course, the course of the riffs have taken a rather abrupt turn as well. You still have your standardized vulgar chainsaw barrages that are bombarded through metallic soil and rotten flesh, but at the same time, wisps of melody plod along the balustrades of heaving old school Swedish death metal, and those so called wisps some times take on a larger role, dominating the entire riff pattern with narrating, trudging lead sequences, converting the classic mass zombie invasion scene into a graphic picture of a grotesquely severed zombie ripping a man's guts out with a blunted scalpel. The vocals are akin to Matti Karki at lower growl, and they too have undergone change - the timbre of a crazed cemetery ghoul barking in the night now booms with a wonderfully cavernous inflection.
In very few ways did I find this record agitating: in spite of the immense amount of variation put into it, there was still a feeling of repetition on rare occasions, and the songs could have used some trimming, as it was sometimes a bore to listen to six minutes of subterranean massacre. Nonetheless, I was far more impressed than I anticipated. The punitive and gorgeously murky atmosphere and texture was perfect, giving me taste of a wretched, dismal Dissection on sections where the guitar was being picked with immaculate speed and intensity, the variations in the tempo department was also a great change, and comparing the debut, ''Midnight Stench'' to the cadaverous sophomore is something like comparing a hyena to a fully grown, brawny hell hound. There will some folks who will prefer the raw, unbridled ferocity of the band's previous outing to the their more atmospheric inclinations, thinking some of the energy has left the sophomore, but as far I, and the other fields of music are concerned, ''At the Caves of Eternal'' is an outright winner.
In The Gallery Of Laments
Friday, June 14, 2013
I was first acquainted with ZOM around 2012 when I heard their 2011 demo. It was a considerably discomfiting, noisy piece of hectic black/death in the vein of Diocletian and Blasphemy, and I need not say that I enjoyed myself greatly throughout the demo's 20 minute lifespan or sordid darkness. Upon hearing the Irishmen's coupling with the notorious underground imprint Iron Bonehead Productions, I was more than excited to hear fresh material from them, and I was particularly hungry as I somehow could not obtain their 2012 demo. What riveted and eventually dragged me into ZOM's unique entity ''Multiversal Holocaust'', a brief 2 song EP, is ZOM's sense of enlightenment, which was clearly visible on their previous releases, but this time offered with a more refined edge, and their sense of being able to control chaos. For some some reason, I see the latter as an aspect that seems to be hugely lacking in modern black/death/war metal groups - bands simply cram grindcore-paced songs with subterranean wrangles that reek of such giants as the ones aforementioned, and proceed to play with nearly no sense of musical realization, offering blank, banal, and canned chaos. ZOM, on the other hand, have somehow managed to overcome the majority of the hindrances that were keeping their turbulent bland of black/death fresh yet still distilled with terrifying complexity and anomaly.
What makes ZOM even more refined is that they're no longer bound to the strictly obtuse stylings of Blasphemy, Axis Of Advance, or Revenge. I'm talking about genuine riffs here, not just a convoluted enmeshment of cavernous clamor, but more diligently constructed terror that pervades with superior intensity and extremity, eventually coinciding with the listener's worst nightmares. The production, for one, despite still keeping true to its cavernous and clangorous roots, is much more accessible and somewhat spacious, granting ease for the malleability of the swerving black/thrash-oriented riffs. What's more is that the death metal aspect of ZOM has enlarged greatly. It's almost as though these broiling ruptures that seem to be a cross between Pestilence, Asphyx, Autopsy, early Death, Messiah and Ripping Corpse, wreathed in a gorgeously sodden aura of gore, channel some sort of tape echo-ridden production value (which by the way is the sole ''modern'' aspect of the EP) and seep into the listener's conscious, thus intruding with nightmarish accuracy, efficiency and intricacy. The black metal facet of ZOM is chiefly and collection of early Burzum, Mayhem's legendary ''Deathcrush'' EP, Bestial Warlust, Blasphemy, Revenge and Conqueror among a handful of others, providing riffing qualities that are both raw and razor-sharp. With all its elements infused together, ZOM sounds very much like Weregoat, another recent entrant to the black/death universe, but with a heavier, grooving sensation that limits parole just as well as it renders escapism somewhat possible for keen headbangers.
Like many of its kin, the two tracks are linked individually and separately with blood-curdling ambient passages and sequences of whose classification I still find hard to put into words. Perhaps the individual values of the riffs have gained acuteness and significance with the Irishman's reformed perspective, but the overall sound is still the cut above the rest. ZOM composes richly darkened texture with an absolutely dreadful panoply of preposterous and charred chaos, laden with technical skill and the ability to prevent salvation with all the means possible. And trust me, they have the means. It's horrific, scrupulously rotten and it's a great reminder that nightmares that be evoked during daytime with alarming determination. I'm not going to go as far as to say that this is a severed head over any other release over the last 2-3 years in the same field, but I'll have to admit that it's one of the most successful ones in that field. This is an EP that pumped so much drug in me, that I literally can't keep my ears away from monstrosities and profanities alike. You need this.