Perpetual Rage
The New Kingdom
First is first: Iron Maiden fans (like myself) will eat this up like there's no tomorrow. It straddles the line between 'Maiden and their charismatic frontman, Bruce Dickinson's, solo work. Vocalist Tomi Viiltola possesses a great, Dickinson-like timbre and range, yet not sounding as inviting or instantly lovable. It's more villainous, which I suppose might be a better way to put it, as I do not mean that he lacks skill. Me, I found the vocals were what made me love the band upon first listen, yet some listeners may experience different.
The musicians behind Viiltola are more than adequate, churning out somewhat chunky, yet melodically classic, heavy metal with great songwriting in tow. I have not yet picked a favorite track, yet "Out Of Dimensions" was the first impression I got from them, and it sold me, so there's that. The track has the whole clean verse/heavier bridge and chorus formula, with a John Arch-like scream ushering in the festivities found within the track.
The music really is very nostalgic. Had I not known it was a 2015 released, I'd have guessed it was not from any earlier than 1989. For a subjective metal freak like me, that means "win". The production, while strong, doesn't have that modern gloss to it, opting for a slightly live feeling, especially within' the feelsy guitar shreddings.
Might be a bit of a cop-out, but that's basically all I have on this (and my site, my rules). If I used a rating system (like some of my former reviews on external sites), I would definitely put this one at at least an 8.5. That's nothing to sneeze at. So just take my word for it and check this one out if you're into well-done traditional metal that will stick with you.
TTSNSN 3/18/15
Bron
Fogradh
Let's begin with a nice, relaxing, new-agey piece of keyboard dreaminess. You know, something that feels like the cover of the album looks. Let's let it run it's course until the listener forgets they are listening to a metal album, then kick in a few minutes in with the whole band to verify that there is metal involved. Then, we'll flow and crescendo from the light and celestial mood that matches the intro's vibe, and we'll change and venture into different moods from there.
I doubt that the band had this conversation verbatim, yet it's what a songwriter would be thinking. And it's nothing we haven't heard before. The question, as always, is if the formula is well-done or not. My personal answer would be a huge YES for this piece of grand work. It's a melodic, heartfelt journey into the many passionate feelings that an atmospheric, keyboard-driven black metal band ought to strive for. It will keep you feeling it, even throughout the epic length of the single track. That's the trick to it, really. Don't let the listener WANT to have tracks to skip through. Make them savor it.
This is also to imply that it is performed well. And the implication is also a reality, to this reviewer. Traditional high-register black metal vocals narrate this journey nicely and without overdoing or underdoing anything. Also, I highly respect the way the rhythm guitars stay just that - rhythms - during the very key-heavy melodies, letting leads pop up and take over only when the theme of the melodies call for such a thing. And when the tremolo-picked lead lines arise, they are used to perfect effect to pave way for some tasteful and adventurous blast beats with accenting fills that do what they are supposed to for a song, as opposed to the showoff fills of less song oriented bands. This might be a long, drawn out opus, but it's execution and emotional weight will be felt at every twist and turn. It's been a long time since something this saccarine has crept into my heart. But it sure feels good, I will give it that.
TTSNSN 2/15/15
Fogradh
Let's begin with a nice, relaxing, new-agey piece of keyboard dreaminess. You know, something that feels like the cover of the album looks. Let's let it run it's course until the listener forgets they are listening to a metal album, then kick in a few minutes in with the whole band to verify that there is metal involved. Then, we'll flow and crescendo from the light and celestial mood that matches the intro's vibe, and we'll change and venture into different moods from there.
I doubt that the band had this conversation verbatim, yet it's what a songwriter would be thinking. And it's nothing we haven't heard before. The question, as always, is if the formula is well-done or not. My personal answer would be a huge YES for this piece of grand work. It's a melodic, heartfelt journey into the many passionate feelings that an atmospheric, keyboard-driven black metal band ought to strive for. It will keep you feeling it, even throughout the epic length of the single track. That's the trick to it, really. Don't let the listener WANT to have tracks to skip through. Make them savor it.
This is also to imply that it is performed well. And the implication is also a reality, to this reviewer. Traditional high-register black metal vocals narrate this journey nicely and without overdoing or underdoing anything. Also, I highly respect the way the rhythm guitars stay just that - rhythms - during the very key-heavy melodies, letting leads pop up and take over only when the theme of the melodies call for such a thing. And when the tremolo-picked lead lines arise, they are used to perfect effect to pave way for some tasteful and adventurous blast beats with accenting fills that do what they are supposed to for a song, as opposed to the showoff fills of less song oriented bands. This might be a long, drawn out opus, but it's execution and emotional weight will be felt at every twist and turn. It's been a long time since something this saccarine has crept into my heart. But it sure feels good, I will give it that.
TTSNSN 2/15/15
Nihilistinen Barbaarisuus
Synkka Tuuli
The ability for black metal to properly represent flavours not originally intended when the infamous "second wave" began, and still be soul-touching (and sometimes crushing) and sinister has been proven time and time again with inclusions of "atmospheric" production techniques, folk melodies (depending on region), death metal nods, noise/ambient forays, and much more; so much more that it's become the template for some very complex and surreal aural-paintings. While actual paint is optional nowadays, black metal bands have grown to be infamously respected for their vast and imaginative brush strokes - their musicianship and creativity. What I'm getting at here is that Nihilistinen Barbaarisuus is nearly the perfect example of the blackened spirit being kept in tact as dreams and beautiful nightmares become realized through eclectic artistic expression.
The Synkka Tuuli full-length properly encompasses black metal's evocative nature through embodied Finnish heritage, despite being located here in the U.S. To be proud of one's bloodline and history is one thing that can help extreme music of many kinds be more than just a body of sounds. The band's proclamation of being "melancholic" is also answered by their "strangely uplifting" mood. It is my belief that it's within the heritage tributation here that I feel the latter comes from. Now, let's not be misunderstood. This is black metal. And it is dark black metal. However, you can feel the inspiration and pride in the composition.
To venture beyond the obvious black aspects, the aforementioned atmospheric production (i.e. "abysmal", not afraid of reverb), though clean and well-done, lends to a lot of this album's appeal. There's a distinction between well presented atmosphere and "necro", that us seasoned metal fans have come to realize throughout the years of the genre's existence. And when the ambient passages begin, they do not feel alien, but equally poignant. When the black metal fury returns, the transition is naturally smoothe. Piercing cries from somewhere in the abyss narrate the manic orchestration of the band, while keys blend with traditional tremolo riffs and blast beats to keep the intensity from dropping.
And such intensity never does abandon the material, no matter the dynamics. This is all due to FEEL, which I've always valued first and foremost in music of this quality. And in case you didn't get the hint by my words here; that quality is very high. Hail the frigid blackness of Nihilistinen Barbaarisuus!
11/12/14
Synkka Tuuli
The ability for black metal to properly represent flavours not originally intended when the infamous "second wave" began, and still be soul-touching (and sometimes crushing) and sinister has been proven time and time again with inclusions of "atmospheric" production techniques, folk melodies (depending on region), death metal nods, noise/ambient forays, and much more; so much more that it's become the template for some very complex and surreal aural-paintings. While actual paint is optional nowadays, black metal bands have grown to be infamously respected for their vast and imaginative brush strokes - their musicianship and creativity. What I'm getting at here is that Nihilistinen Barbaarisuus is nearly the perfect example of the blackened spirit being kept in tact as dreams and beautiful nightmares become realized through eclectic artistic expression.
The Synkka Tuuli full-length properly encompasses black metal's evocative nature through embodied Finnish heritage, despite being located here in the U.S. To be proud of one's bloodline and history is one thing that can help extreme music of many kinds be more than just a body of sounds. The band's proclamation of being "melancholic" is also answered by their "strangely uplifting" mood. It is my belief that it's within the heritage tributation here that I feel the latter comes from. Now, let's not be misunderstood. This is black metal. And it is dark black metal. However, you can feel the inspiration and pride in the composition.
To venture beyond the obvious black aspects, the aforementioned atmospheric production (i.e. "abysmal", not afraid of reverb), though clean and well-done, lends to a lot of this album's appeal. There's a distinction between well presented atmosphere and "necro", that us seasoned metal fans have come to realize throughout the years of the genre's existence. And when the ambient passages begin, they do not feel alien, but equally poignant. When the black metal fury returns, the transition is naturally smoothe. Piercing cries from somewhere in the abyss narrate the manic orchestration of the band, while keys blend with traditional tremolo riffs and blast beats to keep the intensity from dropping.
And such intensity never does abandon the material, no matter the dynamics. This is all due to FEEL, which I've always valued first and foremost in music of this quality. And in case you didn't get the hint by my words here; that quality is very high. Hail the frigid blackness of Nihilistinen Barbaarisuus!
11/12/14
tMithrias
Demo
Even as a former contender in the game of melodic death metal, as was my former band(s), I've shyed away from the subgenre, if not only for reasons of more extreme taste, but the sad reality that metalcore has copped every feel they could get from the formerly delectable dish it served, making nearly any "melodeath" release post-90s seem tired and overplayed. The fact that some melodic death metal bands caught on to this and tried to be hip to it by eventually being influenced by the very bands they influenced seemed to make it worse, causing us listeners to approach anything of the sort with pure caution, reluctantly scanning every aspect in hopes that there will be no "Americanized" elements in the recipe. Most of my readers will know what I mean about this. This is not fair to the style, and no fair to legitimate fans of both death metal and classic metal, which is originally the whole idea of adding those Maiden-esque riffs and anthemic crescendos into the more coherent side of death metal's vast palette. Many bands have since made me realize that we shouldn't let a diluted and derivative (if not disrespectful) bunch of actors and copycats ruin a good thing. Those "actors" are bad at it, anyway. Legitimate "melodeath" isn't an act, but a show of love for intensity and metal's old ways - all within an extreme metal context. Mythrias could be one of those bands to help someone realize the merits of melodic death metal, and why we loved it to begin with.
With strong, traditional, mid-high death metal screams, focused guitar melodies, brutal-yet-controlled drumming, and classic songwriting, Mythrias show both why extreme metal can be appealing to more than just fans of death metal, as well as show death metal fans that sometimes there's more to life that 3000 riffs played over a long drum solo while topped off with warthog grunts. No, you won't find any angsty shouting or an excess of needless breakdowns. This is melodic death metal that recalls it's Scandinavian influences, proudly wearing them through convincing execution.
There's no need for me to point out any individual track as if one is over another, as they all come off equal in quality. These guys, while still in the early stages of the metal game, sound as if they have years of experience in metal, which is also very refreshing to know about newer bands in this day and age of so much getting mislabeled with the "metal" tag. This is refreshingly and proudly metal. It's memorable, makes you wanna raise the horns, and does what it obviously intends to do - which is kick ass.
I always (it seems like every time I write) talk about vibe over aggression. And while Mythrias is not the most aggressive of bands, they have both that aspect as well as that dark, intense, triumphant vibe metal seems to be lacking in the mainstream today. Let's hope they make it there. We need more like them.
TTSNSN 3/10/15
Demo
Even as a former contender in the game of melodic death metal, as was my former band(s), I've shyed away from the subgenre, if not only for reasons of more extreme taste, but the sad reality that metalcore has copped every feel they could get from the formerly delectable dish it served, making nearly any "melodeath" release post-90s seem tired and overplayed. The fact that some melodic death metal bands caught on to this and tried to be hip to it by eventually being influenced by the very bands they influenced seemed to make it worse, causing us listeners to approach anything of the sort with pure caution, reluctantly scanning every aspect in hopes that there will be no "Americanized" elements in the recipe. Most of my readers will know what I mean about this. This is not fair to the style, and no fair to legitimate fans of both death metal and classic metal, which is originally the whole idea of adding those Maiden-esque riffs and anthemic crescendos into the more coherent side of death metal's vast palette. Many bands have since made me realize that we shouldn't let a diluted and derivative (if not disrespectful) bunch of actors and copycats ruin a good thing. Those "actors" are bad at it, anyway. Legitimate "melodeath" isn't an act, but a show of love for intensity and metal's old ways - all within an extreme metal context. Mythrias could be one of those bands to help someone realize the merits of melodic death metal, and why we loved it to begin with.
With strong, traditional, mid-high death metal screams, focused guitar melodies, brutal-yet-controlled drumming, and classic songwriting, Mythrias show both why extreme metal can be appealing to more than just fans of death metal, as well as show death metal fans that sometimes there's more to life that 3000 riffs played over a long drum solo while topped off with warthog grunts. No, you won't find any angsty shouting or an excess of needless breakdowns. This is melodic death metal that recalls it's Scandinavian influences, proudly wearing them through convincing execution.
There's no need for me to point out any individual track as if one is over another, as they all come off equal in quality. These guys, while still in the early stages of the metal game, sound as if they have years of experience in metal, which is also very refreshing to know about newer bands in this day and age of so much getting mislabeled with the "metal" tag. This is refreshingly and proudly metal. It's memorable, makes you wanna raise the horns, and does what it obviously intends to do - which is kick ass.
I always (it seems like every time I write) talk about vibe over aggression. And while Mythrias is not the most aggressive of bands, they have both that aspect as well as that dark, intense, triumphant vibe metal seems to be lacking in the mainstream today. Let's hope they make it there. We need more like them.
TTSNSN 3/10/15
Khthoniik Cerviiks
Heptaedrone
When I received my limited black Heptaedrone cassette from Germany, memories of my youth as a metal kid returned; seeking the sicker...and sicker...and DARKEST music I could, finding Ripping Corpse tapes in used bins (probably seized and sold by irate, bible-bangin' parents), the glee of the physical piece of the evil band in my hands pumping me more than a "regular person" would or could possibly understand. What's so cool about this release is that it's actually so extreme that even the ADULT version of me gets a similar rush. (You can ask many of the bands that I review how I feel about physical copies, whether CD, cassette, or LP...as nearly all of them have me as either a customer or a recipient of their promotional work.)
Anyhoo, Khthoniik Cerviiks is shadowed and haunted by talk of the word "apocalyptic" by nearly every critic I've seen so far give them a proper description, and for good reason. The band's raw, crushing death metal and "bestial black" mixture brings to mind the glory days of Blasphemy, Beherit, Von (if they were less simplistic), and the tar-smothered death of bands like Impetuous Ritual and Drawn And Quartered, yet all the while keeping their own thing going and in-tact with a punishingly buzzy and ripping tone not so much smothering as it is on the offense, like a spray of automatic fire to consume your body in hellfire. As the vocals tear through the mix with a conviction not heard outside of a bloody warzone, the atonal riffs that scream over the blasphemous rhythms here might even bring to mind some of industrial's DARKEST moments, yet not having anything to do with the genre on the whole. Then, as the barrage of morphed thrash riffs akin to early Sepultura, Mortuary Drape, or Sarcophago worm their way through the battlefield, one knows that there's something significantly unique about this German devil-troupe.
This is blasty, chaotic, and violent death metal with a black soul worthy of any "kvlt" disciple's stamp of approval. Get some, and secure your spot in hell's fieriest depths.
11/12/14
Heptaedrone
When I received my limited black Heptaedrone cassette from Germany, memories of my youth as a metal kid returned; seeking the sicker...and sicker...and DARKEST music I could, finding Ripping Corpse tapes in used bins (probably seized and sold by irate, bible-bangin' parents), the glee of the physical piece of the evil band in my hands pumping me more than a "regular person" would or could possibly understand. What's so cool about this release is that it's actually so extreme that even the ADULT version of me gets a similar rush. (You can ask many of the bands that I review how I feel about physical copies, whether CD, cassette, or LP...as nearly all of them have me as either a customer or a recipient of their promotional work.)
Anyhoo, Khthoniik Cerviiks is shadowed and haunted by talk of the word "apocalyptic" by nearly every critic I've seen so far give them a proper description, and for good reason. The band's raw, crushing death metal and "bestial black" mixture brings to mind the glory days of Blasphemy, Beherit, Von (if they were less simplistic), and the tar-smothered death of bands like Impetuous Ritual and Drawn And Quartered, yet all the while keeping their own thing going and in-tact with a punishingly buzzy and ripping tone not so much smothering as it is on the offense, like a spray of automatic fire to consume your body in hellfire. As the vocals tear through the mix with a conviction not heard outside of a bloody warzone, the atonal riffs that scream over the blasphemous rhythms here might even bring to mind some of industrial's DARKEST moments, yet not having anything to do with the genre on the whole. Then, as the barrage of morphed thrash riffs akin to early Sepultura, Mortuary Drape, or Sarcophago worm their way through the battlefield, one knows that there's something significantly unique about this German devil-troupe.
This is blasty, chaotic, and violent death metal with a black soul worthy of any "kvlt" disciple's stamp of approval. Get some, and secure your spot in hell's fieriest depths.
11/12/14
Anguish
Mountain
"Deathdoom" can be a tricky contender. On one hand, a well-seasoned lover of metal and all the glorious diversity that it's subgenres can encompass; this type of trudgery can be a very poignant and emotional ride that doesn't cause us to question our hardness or testosterone. It's a way to delve into certain aspects of sadness while maintaining a beastly self-esteem. On the other hand, such music (when done wrong) can just seem like death metal that is missing a lot of things we love about death metal, eschewing the point of the DOOM that is meant to crush us.
Anguish does not fail us in the original intent of doom, however. Mountain possesses an enjoyable vibe a-la Candlemass to go with their bruisingly effective death groove. Apt amounts of darkness in the "slow death metal" department keep us involved and feeling pumped throughout, despite the style's slothy nature. Some beneficial aspects that enhance the overall feel are nice little melodic passages of clean guitar strewn here and there, an ambient break or two, funeral-esque organ swells, lead fills, and great dual-axe harmonies. The vibe is also positively enforced by strong grunt-style shouts that recall certain bands that somewhat changed the extremity game in the late 80s/early 90s. This is not completely uncommon for doom, yet a bit unusual for doom of this shadowy nature.
All else that can be said is that the production keeps the grit where it needs to be as the lumbering tunes run their course. Well, that and the album art this time is a large improvement, if not still a bit primal. I'd recommend this platter of doom to anyone with a healthy taste for this style.
11/12/14
Mountain
"Deathdoom" can be a tricky contender. On one hand, a well-seasoned lover of metal and all the glorious diversity that it's subgenres can encompass; this type of trudgery can be a very poignant and emotional ride that doesn't cause us to question our hardness or testosterone. It's a way to delve into certain aspects of sadness while maintaining a beastly self-esteem. On the other hand, such music (when done wrong) can just seem like death metal that is missing a lot of things we love about death metal, eschewing the point of the DOOM that is meant to crush us.
Anguish does not fail us in the original intent of doom, however. Mountain possesses an enjoyable vibe a-la Candlemass to go with their bruisingly effective death groove. Apt amounts of darkness in the "slow death metal" department keep us involved and feeling pumped throughout, despite the style's slothy nature. Some beneficial aspects that enhance the overall feel are nice little melodic passages of clean guitar strewn here and there, an ambient break or two, funeral-esque organ swells, lead fills, and great dual-axe harmonies. The vibe is also positively enforced by strong grunt-style shouts that recall certain bands that somewhat changed the extremity game in the late 80s/early 90s. This is not completely uncommon for doom, yet a bit unusual for doom of this shadowy nature.
All else that can be said is that the production keeps the grit where it needs to be as the lumbering tunes run their course. Well, that and the album art this time is a large improvement, if not still a bit primal. I'd recommend this platter of doom to anyone with a healthy taste for this style.
11/12/14
Warfather
Orchestrating The Apocalypse
Steve Tucker, the surprisingly well-received ex-frontman of death metal giants, Morbid Angel, returns to the death metal forefront with his new band - Warfather. The good news is something I will just throw out there on the table at the start; it's what you'd expect him to do if you had high hopes for a new band featuring this beast of a frontman. This is only really good news that would be relevant to someone who loyally stuck with Morbid Angel during their Vincent-less times (which I did, and actually grew to like him just as much, if not sometimes more, than Mr. Vincent himself), as Steve has his usual vehement passion here, only deviating from what we know of him by playing guitar in this camp, leaving bass duties to one of his new recruits.
The material is really not much different from his Morbid Angel days, aside from creating only a bit more of an aura of anger, forgoing the slimy and abysmal atmosphere of his former band for such a razor-sharp newness. This works well in the new entity's favor, as we really didn't need an unauthentic, generic copy (the genre is crawling with those as it is). Steve's guitar playing is more than adequate, cutting through the death and thrash rhythms and tempos like a surgeon's blade through flesh, and showing an occasional and distinct penchant for almost Scandinavian-style single-note scale runs. This technique is nicely employed with a deliberate lack of overkill in the way of layering. It sounds almost live, and gives off a feeling of malicious intimacy that overly produced bands can't touch. This is where some will criticize the mix, thinking it's a lack of production skill, rather than intended studio simplicity. To me, this shit works on all fronts.
There's also a good focus on songwriting presented here. The aggressive and only slightly intricate methods of the album make way for some truly memorable tunes. At times, Tucker's Nader Sadek days come to mind, only to be overshadowed by the thrashier and methodic ways of the overall presentation, heading back to an undeniable individuality.
With every instrument coming off clean and well-performed, a passionate essence of anger and disgust, and the memorable songwriting in tow, Orchestrating The Apocalypse is a triumphant release in a world where death metal seems to be losing it's heart to competitive excess and unwarranted over-extremity. This album feels just right, and is brutal enough to still scare the shit out of your parents. Jump onto the battlefield and grab a machine gun. It's time for WAR!
11/12/14
Orchestrating The Apocalypse
Steve Tucker, the surprisingly well-received ex-frontman of death metal giants, Morbid Angel, returns to the death metal forefront with his new band - Warfather. The good news is something I will just throw out there on the table at the start; it's what you'd expect him to do if you had high hopes for a new band featuring this beast of a frontman. This is only really good news that would be relevant to someone who loyally stuck with Morbid Angel during their Vincent-less times (which I did, and actually grew to like him just as much, if not sometimes more, than Mr. Vincent himself), as Steve has his usual vehement passion here, only deviating from what we know of him by playing guitar in this camp, leaving bass duties to one of his new recruits.
The material is really not much different from his Morbid Angel days, aside from creating only a bit more of an aura of anger, forgoing the slimy and abysmal atmosphere of his former band for such a razor-sharp newness. This works well in the new entity's favor, as we really didn't need an unauthentic, generic copy (the genre is crawling with those as it is). Steve's guitar playing is more than adequate, cutting through the death and thrash rhythms and tempos like a surgeon's blade through flesh, and showing an occasional and distinct penchant for almost Scandinavian-style single-note scale runs. This technique is nicely employed with a deliberate lack of overkill in the way of layering. It sounds almost live, and gives off a feeling of malicious intimacy that overly produced bands can't touch. This is where some will criticize the mix, thinking it's a lack of production skill, rather than intended studio simplicity. To me, this shit works on all fronts.
There's also a good focus on songwriting presented here. The aggressive and only slightly intricate methods of the album make way for some truly memorable tunes. At times, Tucker's Nader Sadek days come to mind, only to be overshadowed by the thrashier and methodic ways of the overall presentation, heading back to an undeniable individuality.
With every instrument coming off clean and well-performed, a passionate essence of anger and disgust, and the memorable songwriting in tow, Orchestrating The Apocalypse is a triumphant release in a world where death metal seems to be losing it's heart to competitive excess and unwarranted over-extremity. This album feels just right, and is brutal enough to still scare the shit out of your parents. Jump onto the battlefield and grab a machine gun. It's time for WAR!
11/12/14
Tombs
Savage Gold
As I returned home from my beloved "record store day" that my wife and I try and grant me every month, I listened to my shiny new Tombs CD, their latest effort, Savage Gold. My initial reaction to the near-perfect riffing and almost glossily perceived tones, along with the methodic and almost predictably glossed structuring and savage vocals emanating from the speakers, was a feeling of silent trepidation. Are these "post metallers" (that - to me - play a dirtier form of blackened death-thrash than the next band of up-and-comers next door on Bandcamp) playing it too safe? It felt just so...comfortable. Or is this feeling that there is some well-thought, passionate, and honest songwriting coming into play here? Well, the latter happened to be the case as I neared the album's ending notes. The "gloss" that I mistakenly heard was accessibility, yes. But it was the kind of accessibility that comes from just damn good music. It wasn't glossy at all, quite the contrary; as if one didn't analyze perceptively, it would seem to have elements of sludge in there amongst the tremolo riffs, the alternated shout/screech/growl/crude thrash singing, and the aggressive nature of the altogether dirty sound. This material is not an "effort", it's a triumph.
Placed carefully within the album's flow are slow moments with a somewhat droning single-note style of lead guitar, complete with abysmal atmosphere and shouting that will bring to mind artcore giants, Neurosis. This is where I began to understand what was happening with the methodic structuring. There's a sinister plot afoot here. Furthermore, with the upbeat and harmonious lead guitar interplay, the "Lombardo beat" tendencies, and the positively venomous screamed vocals, one could not label this solely "post metal" or "melodic dark hardcore", or any other desperate attempt at pigeonholing. This is as black as some of the corpsepainters - or more - as some of the metal scene's acts that lay claim to such a title, as thrash as a band like Skeletonwitch. And it's true, it is the "post elements" (the gruff and imperfect singing vocals, the droney, grindcore-on-ludes lead themes, the off-kilter rhythmic drum fills, 'verbed-out shouting, etc.) are what make the mix work so well.
This feral and moody piece of work will definitely take you somewhere. And just when you think you're too comfortable and all is too good to be true, you get pulled into a tar pit, only to get kicked in the head as you reach the acceptance stage of your doom. And Tombs manages to do this without being erratic or too scattered. Quite frankly, my feeling of it being "too safe" at first is just because the damn thing feels so good at first listen. And the good news is that it doesn't dwindle in appeal the more you listen. It just gets better.
11/12/14
Savage Gold
As I returned home from my beloved "record store day" that my wife and I try and grant me every month, I listened to my shiny new Tombs CD, their latest effort, Savage Gold. My initial reaction to the near-perfect riffing and almost glossily perceived tones, along with the methodic and almost predictably glossed structuring and savage vocals emanating from the speakers, was a feeling of silent trepidation. Are these "post metallers" (that - to me - play a dirtier form of blackened death-thrash than the next band of up-and-comers next door on Bandcamp) playing it too safe? It felt just so...comfortable. Or is this feeling that there is some well-thought, passionate, and honest songwriting coming into play here? Well, the latter happened to be the case as I neared the album's ending notes. The "gloss" that I mistakenly heard was accessibility, yes. But it was the kind of accessibility that comes from just damn good music. It wasn't glossy at all, quite the contrary; as if one didn't analyze perceptively, it would seem to have elements of sludge in there amongst the tremolo riffs, the alternated shout/screech/growl/crude thrash singing, and the aggressive nature of the altogether dirty sound. This material is not an "effort", it's a triumph.
Placed carefully within the album's flow are slow moments with a somewhat droning single-note style of lead guitar, complete with abysmal atmosphere and shouting that will bring to mind artcore giants, Neurosis. This is where I began to understand what was happening with the methodic structuring. There's a sinister plot afoot here. Furthermore, with the upbeat and harmonious lead guitar interplay, the "Lombardo beat" tendencies, and the positively venomous screamed vocals, one could not label this solely "post metal" or "melodic dark hardcore", or any other desperate attempt at pigeonholing. This is as black as some of the corpsepainters - or more - as some of the metal scene's acts that lay claim to such a title, as thrash as a band like Skeletonwitch. And it's true, it is the "post elements" (the gruff and imperfect singing vocals, the droney, grindcore-on-ludes lead themes, the off-kilter rhythmic drum fills, 'verbed-out shouting, etc.) are what make the mix work so well.
This feral and moody piece of work will definitely take you somewhere. And just when you think you're too comfortable and all is too good to be true, you get pulled into a tar pit, only to get kicked in the head as you reach the acceptance stage of your doom. And Tombs manages to do this without being erratic or too scattered. Quite frankly, my feeling of it being "too safe" at first is just because the damn thing feels so good at first listen. And the good news is that it doesn't dwindle in appeal the more you listen. It just gets better.
11/12/14
Jute Gyte
Noctis Labyrinthus
As of late, the bizarre black metal entity with the newly-acquired, custom semitone guitar (I think I have heard that it has 48 frets, making quarter steps, as opposed to the westerners half-to-full steps) that certainly makes for some unusual and dissonant compositions, Jute Gyte, has been discovered by more listeners with the transition over to black metal. Most of these people either don't realize that it began as an ambient project; or they simply just ignore the past recordings, forsaking them for the more exciting extremity that the project opts for now. This is why I'm giving this one some attention here, as I (like Jute Gyte, itself) like to go against the grain. Metal webzine or not, it's widely known that fanatical musicians that tinker with journalism dabble in some weird shit. And let's make no mistake. This is weird.
Despite the negative inclinations that a person could imagine from the usage of the term "weird", it is also known that dark fuckers like me almost indefinitely mean it as a compliment every time it is used. And just as the fuzzy, noisy, beautiful walls of sound we are used to with black metal, ambient/noise/experimental music can give us a very similar feeling, with a lot less going on...on the surface, that is. But beneath this metal-less (and 48 fret-guitar-less, at this time in the band's existence) album lies a cornucopia of depth. When minimalism and atmosphere are harnessed right, the journey it can take you on is not only evocative, but surprising. When there is carefully placed and expertly orchestrated sparseness, there is room for YOU, the listener, to add to what you are hearing...no...FEELING. This makes for some very intimate active listening.
What I am describing here is what is happening on Noctis Labyrinthus, that is - if you can pull off the active listening I speak of. The 'verbed-out, chimey, delicate tones of the synths and implied "angelic vocals" (which I am sure are done with synth, as well) will stack, compile, and press on your heart. When a darker, more jangly tone arises, you being buttered up by the celestial tones directly before it only makes you vulnerable to feel the terror of the shift. There are oh-so-many more things to be said about this seemingly simplistic soundtrack score to manic dreams, as it being "simplistic" is only a guise. This is "heavy" as metal, if you are willing to let it be. Headphones are recommended.
Noctis Labyrinthus
As of late, the bizarre black metal entity with the newly-acquired, custom semitone guitar (I think I have heard that it has 48 frets, making quarter steps, as opposed to the westerners half-to-full steps) that certainly makes for some unusual and dissonant compositions, Jute Gyte, has been discovered by more listeners with the transition over to black metal. Most of these people either don't realize that it began as an ambient project; or they simply just ignore the past recordings, forsaking them for the more exciting extremity that the project opts for now. This is why I'm giving this one some attention here, as I (like Jute Gyte, itself) like to go against the grain. Metal webzine or not, it's widely known that fanatical musicians that tinker with journalism dabble in some weird shit. And let's make no mistake. This is weird.
Despite the negative inclinations that a person could imagine from the usage of the term "weird", it is also known that dark fuckers like me almost indefinitely mean it as a compliment every time it is used. And just as the fuzzy, noisy, beautiful walls of sound we are used to with black metal, ambient/noise/experimental music can give us a very similar feeling, with a lot less going on...on the surface, that is. But beneath this metal-less (and 48 fret-guitar-less, at this time in the band's existence) album lies a cornucopia of depth. When minimalism and atmosphere are harnessed right, the journey it can take you on is not only evocative, but surprising. When there is carefully placed and expertly orchestrated sparseness, there is room for YOU, the listener, to add to what you are hearing...no...FEELING. This makes for some very intimate active listening.
What I am describing here is what is happening on Noctis Labyrinthus, that is - if you can pull off the active listening I speak of. The 'verbed-out, chimey, delicate tones of the synths and implied "angelic vocals" (which I am sure are done with synth, as well) will stack, compile, and press on your heart. When a darker, more jangly tone arises, you being buttered up by the celestial tones directly before it only makes you vulnerable to feel the terror of the shift. There are oh-so-many more things to be said about this seemingly simplistic soundtrack score to manic dreams, as it being "simplistic" is only a guise. This is "heavy" as metal, if you are willing to let it be. Headphones are recommended.
Aosoth
IV: An Arrow In The Heart
So I find myself reaching for this beast more than others recently. I particularly love how the cover depicts death and beauty simultaneously - a visual of seemingly ancient origin. Mind you, you won't HEAR the beauty unless you are observant and detail-oriented. You gotta have a bit of the Clive Barker mentality. You know, the whole "sweet suffering" thing.
This is a bit more Portal-ish than many fans would like to admit, as any kind of flat comparison always gets met with jeering criticism; people criticizing the critics. But I must note that my Portal comparison is not absolute, and is a just and positive thing for the lovers of this cavernous, "wall-of-sound" kind of black/death, which finds equal in common with Deathspell Omega as it does with the aforementioned sect. Also, that is far from the final word in describing this deathly opus, which is rooted in the "let's just see how monstrous and dark we can make this" extreme metal from the time when it was not possible to discern black metal from death metal in many cases...or even some grind, for that matter. Aosoth certainly take the best from their place in the darkest circles in which they dwell, spewing their own unique venom, and taking captives in the process.
But bands like Aosoth and a good bit of others nowadays are stepping it up a notch with less lo-fi and more WALL. Tension is a big factor, yet - like a cenobite - if you can learn to feel the pleasure in the torment, you will get tucked in by covers of a slimy, thorny, acidic nature, to drift into the nether-realm as a decaying, lost spirit among the demons.
The impenetrable wall is not without it's textures, though. There are more dynamics in Aosoth's formula than say, Abyssal (and a lot of Portal's work, for that matter), yet never does it feel like an unwarranted occasion. The flow pushes forth with a sick, captivating kind of comfort that fans of the most blackly ritualistic of death metal will gladly eat up...or the most deathly black metal, whichever direction you choose to cling to when it comes to these kind of descriptions.
Tremolo-picked, blasty, and thick as doom, IV: An Arrow In The Heart still keeps one's attention while making sure to call them back for more with some kind of subconscious desire that nags the conscious to fall prey yet again. You'll not only want to come back to it, you'll just find yourself spinning it...almost without thinking.
5 - 20 - 14 TTSNSN
IV: An Arrow In The Heart
So I find myself reaching for this beast more than others recently. I particularly love how the cover depicts death and beauty simultaneously - a visual of seemingly ancient origin. Mind you, you won't HEAR the beauty unless you are observant and detail-oriented. You gotta have a bit of the Clive Barker mentality. You know, the whole "sweet suffering" thing.
This is a bit more Portal-ish than many fans would like to admit, as any kind of flat comparison always gets met with jeering criticism; people criticizing the critics. But I must note that my Portal comparison is not absolute, and is a just and positive thing for the lovers of this cavernous, "wall-of-sound" kind of black/death, which finds equal in common with Deathspell Omega as it does with the aforementioned sect. Also, that is far from the final word in describing this deathly opus, which is rooted in the "let's just see how monstrous and dark we can make this" extreme metal from the time when it was not possible to discern black metal from death metal in many cases...or even some grind, for that matter. Aosoth certainly take the best from their place in the darkest circles in which they dwell, spewing their own unique venom, and taking captives in the process.
But bands like Aosoth and a good bit of others nowadays are stepping it up a notch with less lo-fi and more WALL. Tension is a big factor, yet - like a cenobite - if you can learn to feel the pleasure in the torment, you will get tucked in by covers of a slimy, thorny, acidic nature, to drift into the nether-realm as a decaying, lost spirit among the demons.
The impenetrable wall is not without it's textures, though. There are more dynamics in Aosoth's formula than say, Abyssal (and a lot of Portal's work, for that matter), yet never does it feel like an unwarranted occasion. The flow pushes forth with a sick, captivating kind of comfort that fans of the most blackly ritualistic of death metal will gladly eat up...or the most deathly black metal, whichever direction you choose to cling to when it comes to these kind of descriptions.
Tremolo-picked, blasty, and thick as doom, IV: An Arrow In The Heart still keeps one's attention while making sure to call them back for more with some kind of subconscious desire that nags the conscious to fall prey yet again. You'll not only want to come back to it, you'll just find yourself spinning it...almost without thinking.
5 - 20 - 14 TTSNSN
God Seed
I Begin
I admit that I am kinda a late-comer to this album, that is, for as much as I love the two founding musicians' work with Gorgoroth. Besides, the reviews here are not on any schedule or time restrictions. It being a somewhat new release, yet already a modern classic, is precisely why I feel the need to add my touch to the media's already abundant God Seed coverage.
I have mixed emotions on the whole this being the new Gorgoroth (King and Gaahl version) that is just under a new, court mandated name. On one hand, all that one would be fanatical about regarding Gaahl and King is here. So in that regard, it's like a new later-era Gorgoroth album. But there's also enough stylistic differences to justify it being looked at as a completely new band. There are full-time keyboards, for one. This addition does change up the sound enough on it's own for such a perspective.
Songs range from fast and blast-ridden to slow and brooding, with the mid-paced sections being a prominent recurrence. Another thing that works for God Seed's individuality and favor is the production. I am, myself, an understanding fan of the "necro" thing (which is not present here), that is, if it's the intentional type that doesn't sound like something a band cannot help. I Begin has a huge and classy production, yet somehow keeps the atmosphere of bands who go for a cheaper sound to gain atmosphere (that intimate, howling, hollow vibe). God Seed has done this, but upped the quality of the atmospheric overall sound to match the authority of the band's founders, who are larger-than-life black metal figures.
So if you have concluded that God Seed is Gorgoroth with keyboards and more pomp, you'd be half right. All that would be remaining for you to grasp is that it DOES have a personality of it's own in that the songs are comfortably familiar, yet with a fresh spin that comes from the severance of conflicting cohorts. Also, don't let the fact that the production is "large" and there is an added instrument in the formula steer you away if you dislike such things. This album is "krieg" as fuck and only benefits from the extra care put into it.
5 - 6 - 14 TTSNSN
I Begin
I admit that I am kinda a late-comer to this album, that is, for as much as I love the two founding musicians' work with Gorgoroth. Besides, the reviews here are not on any schedule or time restrictions. It being a somewhat new release, yet already a modern classic, is precisely why I feel the need to add my touch to the media's already abundant God Seed coverage.
I have mixed emotions on the whole this being the new Gorgoroth (King and Gaahl version) that is just under a new, court mandated name. On one hand, all that one would be fanatical about regarding Gaahl and King is here. So in that regard, it's like a new later-era Gorgoroth album. But there's also enough stylistic differences to justify it being looked at as a completely new band. There are full-time keyboards, for one. This addition does change up the sound enough on it's own for such a perspective.
Songs range from fast and blast-ridden to slow and brooding, with the mid-paced sections being a prominent recurrence. Another thing that works for God Seed's individuality and favor is the production. I am, myself, an understanding fan of the "necro" thing (which is not present here), that is, if it's the intentional type that doesn't sound like something a band cannot help. I Begin has a huge and classy production, yet somehow keeps the atmosphere of bands who go for a cheaper sound to gain atmosphere (that intimate, howling, hollow vibe). God Seed has done this, but upped the quality of the atmospheric overall sound to match the authority of the band's founders, who are larger-than-life black metal figures.
So if you have concluded that God Seed is Gorgoroth with keyboards and more pomp, you'd be half right. All that would be remaining for you to grasp is that it DOES have a personality of it's own in that the songs are comfortably familiar, yet with a fresh spin that comes from the severance of conflicting cohorts. Also, don't let the fact that the production is "large" and there is an added instrument in the formula steer you away if you dislike such things. This album is "krieg" as fuck and only benefits from the extra care put into it.
5 - 6 - 14 TTSNSN
Serpent Ov Old
Withering Hope
For something as (currently) underground as Sepent Ov Old's tasty-as-fuck release, Withering Hope, the feeling it invokes is that of surprise...and and odd mixture of reverence and maliciousness. It's a cauldron of emotions that simply make you wonder "Why not this band? And why does ____ get all the hype instead?!" Well, that's a somewhat recurring situation in Tristus' metal world - as I have always found that the most honest, heartfelt, and integral music is lurking in the shadows (and so I scour the planet for it). All these attributes most definitely apply to Serpent Ov Old.
While this release has it's definite 2nd-wave black metal roots; going beyond those boundaries is not only common on this album, but altogether spewed onto you like flames from a blowtorch. The neoclassical, shreddy, and gothic (like the classy architecture, the kind with beautiful frames and windows, elaborate steps, and gargoyels on top) melodies are not something you have to strain to notice, but a prominent declaration of strength. It never gets overblown or too glossy, but feels natural and representative. Through this whole pungent-yet-addictive miasma of fatal class, the raw and vehement black metal shines parallel to it's caustic fog. It's a familiar demon's light, guiding the way, keeping you from getting lost in one way or the other. The Morning Star is strong with this one.
Tempos are primarily urgent - blasty, even. Tremolo-picking is common in the upbeat darkness, and flowing rhythms wash over the listener with the aid of the aforementioned neoclassical melodies in the brilliant guitar work, breaking up the blast sections with vast swoops of quality positioning. Keyboards do have their place, especially when (but not solely) the rest of the band is silent , creating more of that "gothic" vibe I talked about. All of this (un)blessed ritual madness is topped off and narrated by passionate, vicious screams and grim croaks of the damned.
This is absolutely one of the best underground (once again, CURRENTLY) albums in the black metal world that I have heard in recent times. If you are an avid, ravenous fan of the genre's best; then this album and band are going to be right up your infernal alley.
5 -5 -14 TTSNSN
Withering Hope
For something as (currently) underground as Sepent Ov Old's tasty-as-fuck release, Withering Hope, the feeling it invokes is that of surprise...and and odd mixture of reverence and maliciousness. It's a cauldron of emotions that simply make you wonder "Why not this band? And why does ____ get all the hype instead?!" Well, that's a somewhat recurring situation in Tristus' metal world - as I have always found that the most honest, heartfelt, and integral music is lurking in the shadows (and so I scour the planet for it). All these attributes most definitely apply to Serpent Ov Old.
While this release has it's definite 2nd-wave black metal roots; going beyond those boundaries is not only common on this album, but altogether spewed onto you like flames from a blowtorch. The neoclassical, shreddy, and gothic (like the classy architecture, the kind with beautiful frames and windows, elaborate steps, and gargoyels on top) melodies are not something you have to strain to notice, but a prominent declaration of strength. It never gets overblown or too glossy, but feels natural and representative. Through this whole pungent-yet-addictive miasma of fatal class, the raw and vehement black metal shines parallel to it's caustic fog. It's a familiar demon's light, guiding the way, keeping you from getting lost in one way or the other. The Morning Star is strong with this one.
Tempos are primarily urgent - blasty, even. Tremolo-picking is common in the upbeat darkness, and flowing rhythms wash over the listener with the aid of the aforementioned neoclassical melodies in the brilliant guitar work, breaking up the blast sections with vast swoops of quality positioning. Keyboards do have their place, especially when (but not solely) the rest of the band is silent , creating more of that "gothic" vibe I talked about. All of this (un)blessed ritual madness is topped off and narrated by passionate, vicious screams and grim croaks of the damned.
This is absolutely one of the best underground (once again, CURRENTLY) albums in the black metal world that I have heard in recent times. If you are an avid, ravenous fan of the genre's best; then this album and band are going to be right up your infernal alley.
5 -5 -14 TTSNSN
Portrait
Crossroads
Before anything else, let me remind everyone who visits my little webmag here that King Diamond and Mercyful Fate is the cream of the crop to me, the unholy grail(s) of metal, the masterclass of extreme metal past, present, and future. I'll be blunt: there's someone who graduated that class, and have done so with flying colors, all the while not completely tributing The King (i.e. Attic) with their original compositions - but deriving their fuel from the best and making off with it possessing the energy of demons fervently hunting angels. Let's just say they take after their father in all the best ways.
This is exploratory, occult, modern-classic metal executed in a very familiar fashion. This is not to say it's the kind that just simply reminds you to reach for your tried and true King/Fate albums and listen to those instead. No. This is interesting enough and fresh enough in it's own vibrant soul to keep your mind interested and your soul venturing into Portrait's dark embrace. Like their previous effort, Crimen Laesae Majestatis Divinae, there's a vigorous urgency to these tracks that is strengthened by it's clear - yet not overdone - production. There's audible bass, the pieces of the drum kit come through in their separate tones, and the dual-axe attack blends together as they should. Speaking of what attributes music of this ilk should have, there is reverb where it very well ought to be. Too many bands have attempted to rid themselves of the stigma of 80s production by omitting this glorious effect, among other icings. Not Portrait. This is another reason their derivitive methods benefit them. And a band like Portrait (or any other unashamed band of fanatics), ignoring the herd-mentality of trashing previous eras and their ways is what makes them tick. You'll find a lot of characteristics of metal's glory days on Crossroads, which is nothing but a good thing.
Per Karlsson's voice might go for the shrieky gold like good ol' King, yet he proves himself the versatile and distinct frontman. A number of tones and techniques are employed throughout this 45+ minute release. So, aside from obvious and intentional nods directly to our favorite painted storyteller (maniacal, high-pitched laughter being one example), the vocals are an effective personality of their own. There's a diffence between lovingly tributary aspects and direct copycatting. What's said about Karlsson can be said of the whole album, actually.
Bookended by some beautiful "Black Horsemen"-esque (again, lovingly tributary) clean guitars, filled with exciting occult metal songs, and topped with just enough personality of it's own - I'd say Crossroads is among the best of today's retro metal albums.
4 - 30 - 14
Crossroads
Before anything else, let me remind everyone who visits my little webmag here that King Diamond and Mercyful Fate is the cream of the crop to me, the unholy grail(s) of metal, the masterclass of extreme metal past, present, and future. I'll be blunt: there's someone who graduated that class, and have done so with flying colors, all the while not completely tributing The King (i.e. Attic) with their original compositions - but deriving their fuel from the best and making off with it possessing the energy of demons fervently hunting angels. Let's just say they take after their father in all the best ways.
This is exploratory, occult, modern-classic metal executed in a very familiar fashion. This is not to say it's the kind that just simply reminds you to reach for your tried and true King/Fate albums and listen to those instead. No. This is interesting enough and fresh enough in it's own vibrant soul to keep your mind interested and your soul venturing into Portrait's dark embrace. Like their previous effort, Crimen Laesae Majestatis Divinae, there's a vigorous urgency to these tracks that is strengthened by it's clear - yet not overdone - production. There's audible bass, the pieces of the drum kit come through in their separate tones, and the dual-axe attack blends together as they should. Speaking of what attributes music of this ilk should have, there is reverb where it very well ought to be. Too many bands have attempted to rid themselves of the stigma of 80s production by omitting this glorious effect, among other icings. Not Portrait. This is another reason their derivitive methods benefit them. And a band like Portrait (or any other unashamed band of fanatics), ignoring the herd-mentality of trashing previous eras and their ways is what makes them tick. You'll find a lot of characteristics of metal's glory days on Crossroads, which is nothing but a good thing.
Per Karlsson's voice might go for the shrieky gold like good ol' King, yet he proves himself the versatile and distinct frontman. A number of tones and techniques are employed throughout this 45+ minute release. So, aside from obvious and intentional nods directly to our favorite painted storyteller (maniacal, high-pitched laughter being one example), the vocals are an effective personality of their own. There's a diffence between lovingly tributary aspects and direct copycatting. What's said about Karlsson can be said of the whole album, actually.
Bookended by some beautiful "Black Horsemen"-esque (again, lovingly tributary) clean guitars, filled with exciting occult metal songs, and topped with just enough personality of it's own - I'd say Crossroads is among the best of today's retro metal albums.
4 - 30 - 14
Watain
The Wild Hunt
Well, well. A black metal album that doesn't mimic Darkthrone's Transilvanian Hunger throughout it's duration? Preposterous!
Naw. Just kiddin'. Black metal has always been about raw passion, whether the sounds created are produced to hit you in the face like the fist of a yeti or crawl over your epidermis like buzzy little bugs. The darkness and emotional fury is the name of the game, as is doing it however the fuck you want (see Mayhem's Grand Declaration Of War, Emperor's IX Equilibrium, select Gorgoroth tunes like "When Love Rages Wild In My Heart" , etc.), with only brave-but-stupid "fans" calling the heavy-hitters out for deviating from the traditional black metal formula. Besides, what is the traditional formula, anyway? Even the first-wave of the genre's existence branched FAR away from primitive origins at times...sometimes even for good. Having said all that, Watain's The Wild Hunt sounds like quite the solid, cohesive, and (mostly) furious black metal opus when taking these points into consideration.
Production-wise, we aren't dealing with a flawlessly crisp and robotic piece of shi...ahem...work here, but an adequately grand enough product to get its job done. Its aggression hits hard. Its melodic sentiment gets under the skin. Its atmosphere (achieved without employing a 4-track cassette recorder for that "necro" sound) actually takes you into the shadows successfully.
Watain does play with some new ideas here, as I'm sure you have heard from it's naysayers; since their true fans don't bitch and moan about fresh songwriting innovation. Watain sounds unmistakably like Watain here, and the surprises are actually quite few, since they have never been the kind of band to rest on their laurels, but the kind to allow for some embellishment while keeping their integrity. There's a ballad-esque slow number ("They Rode On") that introduces clean vocals, yet they don't feel foreign like one would expect. The darkly spiritual vibe of their lyrics and overall essence come through just fine with Erik Danielsson's subdued and effective performance on the tune. Also, the band doesn't excitedly go nuts with this new element, instead only reintroducing these types of vocals a few more times throughout the album's complete duration. Don't let this deter you, as Danielsson still spews his venom like a macabre ring leader. There's still lots of blasting black metal from the whole band to be found. Garnish does not take away from the main course here.
Other than altering song structure a bit more than usual in the way of NOT being a mostly Tasmanian devil-whirlwind of a release, there's not a lot to call different. There's incorporation of accordion and fiddle momentarily, and some more mid-paced sensibility that sways like a hymn of some sort; but when did those things come as a surprise to fans of Scandinavian metal?
The quality of this album is high to my ears (and eyes - regarding the tasty occult imagery of the cover and liners). And so, subjectively speaking, my nitpicking and study of this creation has made it my favorite from this troop of black metal warriors. The resoundingly impressive and memorable post-listening effect has me certain that this shadowy collection of blackness will go down as a genre classic.
4 - 22 - 14 TTSNSN
The Wild Hunt
Well, well. A black metal album that doesn't mimic Darkthrone's Transilvanian Hunger throughout it's duration? Preposterous!
Naw. Just kiddin'. Black metal has always been about raw passion, whether the sounds created are produced to hit you in the face like the fist of a yeti or crawl over your epidermis like buzzy little bugs. The darkness and emotional fury is the name of the game, as is doing it however the fuck you want (see Mayhem's Grand Declaration Of War, Emperor's IX Equilibrium, select Gorgoroth tunes like "When Love Rages Wild In My Heart" , etc.), with only brave-but-stupid "fans" calling the heavy-hitters out for deviating from the traditional black metal formula. Besides, what is the traditional formula, anyway? Even the first-wave of the genre's existence branched FAR away from primitive origins at times...sometimes even for good. Having said all that, Watain's The Wild Hunt sounds like quite the solid, cohesive, and (mostly) furious black metal opus when taking these points into consideration.
Production-wise, we aren't dealing with a flawlessly crisp and robotic piece of shi...ahem...work here, but an adequately grand enough product to get its job done. Its aggression hits hard. Its melodic sentiment gets under the skin. Its atmosphere (achieved without employing a 4-track cassette recorder for that "necro" sound) actually takes you into the shadows successfully.
Watain does play with some new ideas here, as I'm sure you have heard from it's naysayers; since their true fans don't bitch and moan about fresh songwriting innovation. Watain sounds unmistakably like Watain here, and the surprises are actually quite few, since they have never been the kind of band to rest on their laurels, but the kind to allow for some embellishment while keeping their integrity. There's a ballad-esque slow number ("They Rode On") that introduces clean vocals, yet they don't feel foreign like one would expect. The darkly spiritual vibe of their lyrics and overall essence come through just fine with Erik Danielsson's subdued and effective performance on the tune. Also, the band doesn't excitedly go nuts with this new element, instead only reintroducing these types of vocals a few more times throughout the album's complete duration. Don't let this deter you, as Danielsson still spews his venom like a macabre ring leader. There's still lots of blasting black metal from the whole band to be found. Garnish does not take away from the main course here.
Other than altering song structure a bit more than usual in the way of NOT being a mostly Tasmanian devil-whirlwind of a release, there's not a lot to call different. There's incorporation of accordion and fiddle momentarily, and some more mid-paced sensibility that sways like a hymn of some sort; but when did those things come as a surprise to fans of Scandinavian metal?
The quality of this album is high to my ears (and eyes - regarding the tasty occult imagery of the cover and liners). And so, subjectively speaking, my nitpicking and study of this creation has made it my favorite from this troop of black metal warriors. The resoundingly impressive and memorable post-listening effect has me certain that this shadowy collection of blackness will go down as a genre classic.
4 - 22 - 14 TTSNSN
Twilight
III: Beneath Trident's Tomb
Being that this is some pretty intellectual stuff in the realm of black metal, with members with resumes spanning from Leviathan to Sonic Youth (yeah, I had a look of confusion on my face with that too), the only thing one could expect was something along the lines of "It's gonna be a kinda unconventional, strange black metal record", which is a somewhat true mental expectation. There are quite a few elements that one might not be prepared for, however.
Having mentioned Wrest and Thurston Moore, I won't focus on the lineup too much past that. If you're interested, you'll look into that aspect; that is, if you're a practical and active music fan. I'm here to explain to you the interesting music presented with III: Beneath Trident's Tomb. And to just flat go into my most prominent point here, I'll say it matter-of-factly: This captivationg black metal recording has as much in common with Meathook Seed as it does Darkthrone. This is essentially industrial black metal, keeping enough of the black to be blacker than the likes of CSSABA or recent Blut Aus Nord.
The much less electro oriented drum sound (save for the factory-chaos of the "synths and electronics" atop the actual drums on the first track, and sparingly on the rest) is a good reason for such a distance from the aforementioned bands. Twilight, on this 3rd opus, creates an industrial vibe with a conventional setup of instruments, with a growling and overdriven bass being the key component to giving the more unique edge. And while this is not uncommon in black metal, especially of the more extreme pursuasion, it's the way the riffs and arrangements are presented that do it.
What is truly beneficial about the band's cold and hammering usage of industrial elements is just that - it hammers the point into the listener's mind. Remember what I said about "active listening"? Well, the effect only serves as a productive plus to those that do said active listening. Unlike the majority of bands that meld styles like this example before us, it doesn't over-complicate things by trying desperately to remain familiar to the consumer, while all the while experimenting all over the place. And contrarily, they do not over-simplify like a lot of bands of this sub-genre ilk. They incorporate the foreign elements into the songs as if the feeling itself were an added instrument, garnishing the top very heavily, yet keeping the body of the dish integral.
This one is a grower, I'll give it that. Black metal fans that have the right mentality - which is what I consider having an open mind is - will appreciate the exploratory vibe that III: Beneath Trident's Tomb brings. Another plus is that once past the initial stage and into realms of familiar territory for the listener; it becomes infectious, in which nobody could correctly claim as detrimental.
4 - 9 - 14 TTSNSN
III: Beneath Trident's Tomb
Being that this is some pretty intellectual stuff in the realm of black metal, with members with resumes spanning from Leviathan to Sonic Youth (yeah, I had a look of confusion on my face with that too), the only thing one could expect was something along the lines of "It's gonna be a kinda unconventional, strange black metal record", which is a somewhat true mental expectation. There are quite a few elements that one might not be prepared for, however.
Having mentioned Wrest and Thurston Moore, I won't focus on the lineup too much past that. If you're interested, you'll look into that aspect; that is, if you're a practical and active music fan. I'm here to explain to you the interesting music presented with III: Beneath Trident's Tomb. And to just flat go into my most prominent point here, I'll say it matter-of-factly: This captivationg black metal recording has as much in common with Meathook Seed as it does Darkthrone. This is essentially industrial black metal, keeping enough of the black to be blacker than the likes of CSSABA or recent Blut Aus Nord.
The much less electro oriented drum sound (save for the factory-chaos of the "synths and electronics" atop the actual drums on the first track, and sparingly on the rest) is a good reason for such a distance from the aforementioned bands. Twilight, on this 3rd opus, creates an industrial vibe with a conventional setup of instruments, with a growling and overdriven bass being the key component to giving the more unique edge. And while this is not uncommon in black metal, especially of the more extreme pursuasion, it's the way the riffs and arrangements are presented that do it.
What is truly beneficial about the band's cold and hammering usage of industrial elements is just that - it hammers the point into the listener's mind. Remember what I said about "active listening"? Well, the effect only serves as a productive plus to those that do said active listening. Unlike the majority of bands that meld styles like this example before us, it doesn't over-complicate things by trying desperately to remain familiar to the consumer, while all the while experimenting all over the place. And contrarily, they do not over-simplify like a lot of bands of this sub-genre ilk. They incorporate the foreign elements into the songs as if the feeling itself were an added instrument, garnishing the top very heavily, yet keeping the body of the dish integral.
This one is a grower, I'll give it that. Black metal fans that have the right mentality - which is what I consider having an open mind is - will appreciate the exploratory vibe that III: Beneath Trident's Tomb brings. Another plus is that once past the initial stage and into realms of familiar territory for the listener; it becomes infectious, in which nobody could correctly claim as detrimental.
4 - 9 - 14 TTSNSN
Helloween
Straight Out Of Hell
Helloween, oh dearest Helloween. How you make my rough days bright and still heavily pumped. Pure professionality is evidenced, even through "silly" lectures of songs like "Asshole". Let it be known, though. It's about unsavory people, not the entrance behind a hot chick that everyone's trying to gain access to.
The Deris/Kiske thing is now about as ridiculously tired as the DiAnno/Dickinson freaks; those clueless, calandar-less numbskulls that still wish Maiden were a melodic punk band. Deris, to me and many others, is the Dickinson of Helloween. Their songwriting has called for a grittier, more emotive, more metal singer for years, and glorious as the days of "Keeper Of The Seven Keys" are, songs like "Final Fortune" (from the monumental Gambling With The Devil album) would have never sounded right with Kiske's smoothe, elastic delivery.
This modern incarnation of Helloween and this particular collection of songs is the best thing they have released since Gambling With The Devil, and though it's only two albums back - I still see that as quite the feat, due to that album's wonderfully diverse and intense delivery. "World Of War" is now my favorite Helloween tune, after all these years. It makes me feel like I'm leather/spike-clad, hopping clouds, and about to descend back to earth on a metal rainbow (the kind that Dio fashions, not the symbol of the homosexual community. It is "Straight" Out Of Hell, afterall). THAT is what good power metal is about. And unless we're talking the dark, apocalyptic power metal that borderlines 80s thrash (i.e. Iced Earth), you want that feeling if you know what's good for you.
Is there filler? I suppose. "I Wanna Be God" goes nowhere, but I understand that. If you tried to be God, you'd end up getting nowhere too. The previously mentioned "Asshole" might hint at it, but the memorable and enthusiastic performance claims otherwise. Solos and double-pedals abound, "Straight Out Of Hell" will send you soaring, just like Andi Deris' charismatic vocals.
When down in the dumps, fly above that stinkin' moor on some Hello-wings.
12 - 22 - 13 TTSNSN
Straight Out Of Hell
Helloween, oh dearest Helloween. How you make my rough days bright and still heavily pumped. Pure professionality is evidenced, even through "silly" lectures of songs like "Asshole". Let it be known, though. It's about unsavory people, not the entrance behind a hot chick that everyone's trying to gain access to.
The Deris/Kiske thing is now about as ridiculously tired as the DiAnno/Dickinson freaks; those clueless, calandar-less numbskulls that still wish Maiden were a melodic punk band. Deris, to me and many others, is the Dickinson of Helloween. Their songwriting has called for a grittier, more emotive, more metal singer for years, and glorious as the days of "Keeper Of The Seven Keys" are, songs like "Final Fortune" (from the monumental Gambling With The Devil album) would have never sounded right with Kiske's smoothe, elastic delivery.
This modern incarnation of Helloween and this particular collection of songs is the best thing they have released since Gambling With The Devil, and though it's only two albums back - I still see that as quite the feat, due to that album's wonderfully diverse and intense delivery. "World Of War" is now my favorite Helloween tune, after all these years. It makes me feel like I'm leather/spike-clad, hopping clouds, and about to descend back to earth on a metal rainbow (the kind that Dio fashions, not the symbol of the homosexual community. It is "Straight" Out Of Hell, afterall). THAT is what good power metal is about. And unless we're talking the dark, apocalyptic power metal that borderlines 80s thrash (i.e. Iced Earth), you want that feeling if you know what's good for you.
Is there filler? I suppose. "I Wanna Be God" goes nowhere, but I understand that. If you tried to be God, you'd end up getting nowhere too. The previously mentioned "Asshole" might hint at it, but the memorable and enthusiastic performance claims otherwise. Solos and double-pedals abound, "Straight Out Of Hell" will send you soaring, just like Andi Deris' charismatic vocals.
When down in the dumps, fly above that stinkin' moor on some Hello-wings.
12 - 22 - 13 TTSNSN
Mastodon
The Hunter
It's a widespread dilemma that many "fans" have written this one off. Through much contemplation and mental scouring, I do believe I have uncovered the reason for such doggery. This is not to imply that I subscribe to anything negative regarding The Hunter. On the contrary. But given the enjoyment that I have garnered from this release, the time we have spent together has given me the tools to at least come to some educated guesses - if not conclusions.
This one is not a grower. It's a slapper. That's right. It's a gauntlet in the face. The band's intricacy is put on the backburner at first impression, giving it a more traditional hard rock personality on the surface. However, this is so apparent that the intent of the band is also highly visible. The compacting of their vast landscape of creativity is so obvious that such a thing being any kind of an accident is nothing short of preposterous.
With their brand of escapist noodling being a prime aspect of their formula, the disorientation of the either chemically transcendental or high-attention-span listener toward this album is understandable. Afterall, I do like to claim that in order to discover greatness, one must push past some alienating traits. It happens to be quite backwards here. If you are an open-minded enough fan of the experts in composition scattered amongst the others of the musical community, you might just allow something that is catchy at first glance to appeal to you; picking through the recipe for those nuggets of technicality and high-craftsmanship to eventually bubble to the surface.
With a shortened song length here, a traditional structure there, Mastodon have made a muscular and exceptionally cohesive album that takes the energy of their earlier works, morphed it into a more melodic and rockin' entity, and let their mind-boggling technical prowess be the inner workings of their newest machine. Progressive metal, stoner sludge, post-hardcore, experimental alernative metal/rock...whatever. This is truly the same band that gave us Remission as well as Crack The Skye. It might rock you from the getgo, but with repeated listens, one cannot help but be in as much awe as ever at their trickery.
11-16-13, TTSNSN
The Hunter
It's a widespread dilemma that many "fans" have written this one off. Through much contemplation and mental scouring, I do believe I have uncovered the reason for such doggery. This is not to imply that I subscribe to anything negative regarding The Hunter. On the contrary. But given the enjoyment that I have garnered from this release, the time we have spent together has given me the tools to at least come to some educated guesses - if not conclusions.
This one is not a grower. It's a slapper. That's right. It's a gauntlet in the face. The band's intricacy is put on the backburner at first impression, giving it a more traditional hard rock personality on the surface. However, this is so apparent that the intent of the band is also highly visible. The compacting of their vast landscape of creativity is so obvious that such a thing being any kind of an accident is nothing short of preposterous.
With their brand of escapist noodling being a prime aspect of their formula, the disorientation of the either chemically transcendental or high-attention-span listener toward this album is understandable. Afterall, I do like to claim that in order to discover greatness, one must push past some alienating traits. It happens to be quite backwards here. If you are an open-minded enough fan of the experts in composition scattered amongst the others of the musical community, you might just allow something that is catchy at first glance to appeal to you; picking through the recipe for those nuggets of technicality and high-craftsmanship to eventually bubble to the surface.
With a shortened song length here, a traditional structure there, Mastodon have made a muscular and exceptionally cohesive album that takes the energy of their earlier works, morphed it into a more melodic and rockin' entity, and let their mind-boggling technical prowess be the inner workings of their newest machine. Progressive metal, stoner sludge, post-hardcore, experimental alernative metal/rock...whatever. This is truly the same band that gave us Remission as well as Crack The Skye. It might rock you from the getgo, but with repeated listens, one cannot help but be in as much awe as ever at their trickery.
11-16-13, TTSNSN
Ashes Of Ares
Ashes Of Ares
I sat on my hands for months, crossing my fingers, shoving them uncomfortably up my fanatical butt in desperation to feel content and satisfied with the new platter of delights from these renowned musicians. And that shit hurts. But I really wanted to be blown away by this new metal league. With the simplistic and somewhat "badass monster truck rally"-looking graphic representation of the bands logo/cover, along with the snippets of vague notes that were being very ungenerously given to the public; I simply did not know if we had Iron Savior-like guilt-cheese to look forward to, or Nevermore-meets-Iced Earth badassery to ravenously devour upon release. Neither is the case, but there's good news: It's better than I could have imagined, even if my initial nervousness occasionally led to fanboyish optimism in my anticipatory little noggin.
What we have here with this self-titled stunner from an elite trio of metal vigilantes can be summed up with just a few words. Some that come to mind immediately are: powerful, passionate, skillful, and immensely appealing. Others that trail not far behind are little color-strokes of flattery (unique, tasty, muscular, etc.). Comparisons can be viewed as a "safe way out" for reviewers, yet can scarcely be avoided. There are some noticeable comparisons to the members' past projects at play here, yet not the ones that would come to mind at the outset.
In the case of the Barlow-Beast, what we get served on a titanium platter here is both more aggressive and bruising than I'd have guessed, but with a contradicting ease of gentleness and dynamic skill to equalize the in-betweens with refreshing expertise, much like his performance on Pyramaze's Immortal oddball of a release. The man is just what I said - a freakin' beast...a beast with crafty humanoid skill, to boot. We get to allow our hungry ears to gobble up all that we love about the man's delivery, and more. And there is no letdowns on his part.
There's really no letdowns on the other two musicians' parts, either. In fact, their performances and choices on this debut are equally impressive as their powerhouse frontman's. (You think I'm a Barlow fan? I think we should do some more investigating there...) Both Van and Freddie turn over new leaves that not only stand up to the tricks we know and love, but take the best possible road for a first impression like this. They give it it's own life entirely.
Freddie Vidales is already known for dexterous bass skills, yet also lays down some of the coolest guitar riffs I've heard in years. The man's obvious comfort on his established instrument makes for some uncommon flavors, yet on guitar translates to some truly unique ideas. It's a double-threat here, yet a remarkable one at that. His solos also equally impress. Bravo to this class-act.
Van Williams performs the way I had hoped for years ago when I had heard Richard Christy was going to be on Iced Earth's Horror Show opus, but without the ever-watchful over-guidance of a man like Jon Schaffer. He gets to hammer out some of his expected flash, but with an ease that lends to a stunning cohesiveness and bespeckled trickery that make for some memorable embellishments that flavor the recipe with a perfect level of intricacy.
It's obvious to say that this release has blown me away. I'm confident that any fan of these loyal metal marauders will lap it up, if not falling sadly into the modern pit of pessimistic metal anti-fanaticism that runs rampant in today's "scene". One would be kidding themselves and everyone else if they had bad things to say regarding this brilliant debut. I can't wait for future output. Hail Ashes Of Ares.
11-2-13, TTSNSN
Ashes Of Ares
I sat on my hands for months, crossing my fingers, shoving them uncomfortably up my fanatical butt in desperation to feel content and satisfied with the new platter of delights from these renowned musicians. And that shit hurts. But I really wanted to be blown away by this new metal league. With the simplistic and somewhat "badass monster truck rally"-looking graphic representation of the bands logo/cover, along with the snippets of vague notes that were being very ungenerously given to the public; I simply did not know if we had Iron Savior-like guilt-cheese to look forward to, or Nevermore-meets-Iced Earth badassery to ravenously devour upon release. Neither is the case, but there's good news: It's better than I could have imagined, even if my initial nervousness occasionally led to fanboyish optimism in my anticipatory little noggin.
What we have here with this self-titled stunner from an elite trio of metal vigilantes can be summed up with just a few words. Some that come to mind immediately are: powerful, passionate, skillful, and immensely appealing. Others that trail not far behind are little color-strokes of flattery (unique, tasty, muscular, etc.). Comparisons can be viewed as a "safe way out" for reviewers, yet can scarcely be avoided. There are some noticeable comparisons to the members' past projects at play here, yet not the ones that would come to mind at the outset.
In the case of the Barlow-Beast, what we get served on a titanium platter here is both more aggressive and bruising than I'd have guessed, but with a contradicting ease of gentleness and dynamic skill to equalize the in-betweens with refreshing expertise, much like his performance on Pyramaze's Immortal oddball of a release. The man is just what I said - a freakin' beast...a beast with crafty humanoid skill, to boot. We get to allow our hungry ears to gobble up all that we love about the man's delivery, and more. And there is no letdowns on his part.
There's really no letdowns on the other two musicians' parts, either. In fact, their performances and choices on this debut are equally impressive as their powerhouse frontman's. (You think I'm a Barlow fan? I think we should do some more investigating there...) Both Van and Freddie turn over new leaves that not only stand up to the tricks we know and love, but take the best possible road for a first impression like this. They give it it's own life entirely.
Freddie Vidales is already known for dexterous bass skills, yet also lays down some of the coolest guitar riffs I've heard in years. The man's obvious comfort on his established instrument makes for some uncommon flavors, yet on guitar translates to some truly unique ideas. It's a double-threat here, yet a remarkable one at that. His solos also equally impress. Bravo to this class-act.
Van Williams performs the way I had hoped for years ago when I had heard Richard Christy was going to be on Iced Earth's Horror Show opus, but without the ever-watchful over-guidance of a man like Jon Schaffer. He gets to hammer out some of his expected flash, but with an ease that lends to a stunning cohesiveness and bespeckled trickery that make for some memorable embellishments that flavor the recipe with a perfect level of intricacy.
It's obvious to say that this release has blown me away. I'm confident that any fan of these loyal metal marauders will lap it up, if not falling sadly into the modern pit of pessimistic metal anti-fanaticism that runs rampant in today's "scene". One would be kidding themselves and everyone else if they had bad things to say regarding this brilliant debut. I can't wait for future output. Hail Ashes Of Ares.
11-2-13, TTSNSN
Theatre Of Tragedy
Aegis
The embodiment of gothic metal, ToT's Aegis saw a former "beauty and the beast" band replace the "beast" aspect with a more recital-style, handsome, mournful tone in the male vocal department; all the while keeping the "beauty" of the angelic Liv Kristine's dainty, dreamy, and melodic musings in full tact - if not amplifying the sentiment even more. The overtaking of one's emotions by the sublime layers of guitars and keyboards simply transports the willing listener to a world of Shakespearean sadness and love distraught. This is an album to put on and lie fireside with a lover, red wine and all.
The femme-themed lyrics and song titles only serve to comfort and enthrall, not coming off as contrived weakling metal, like much badly written music within this genre (which would still be considered gothic DOOM metal, despite it's light delivery) often does. This is some strong music, as the emotional weight of the yearning compositions leave you flattened and deep down in thought and reverie. Their sad and beautiful ways on this classic release are heavy in feeling, tugging your heartstrings in a way that, say...Candlemass cannot, due to the romanticism and fearless exploration of realms saccharine in nature. Open your heart to a verily special bounty of feeling. You deserve a good release of tears, if only internally. Everyone does. Some just don't admit it.
9-15-13 TTSNSN
Aegis
The embodiment of gothic metal, ToT's Aegis saw a former "beauty and the beast" band replace the "beast" aspect with a more recital-style, handsome, mournful tone in the male vocal department; all the while keeping the "beauty" of the angelic Liv Kristine's dainty, dreamy, and melodic musings in full tact - if not amplifying the sentiment even more. The overtaking of one's emotions by the sublime layers of guitars and keyboards simply transports the willing listener to a world of Shakespearean sadness and love distraught. This is an album to put on and lie fireside with a lover, red wine and all.
The femme-themed lyrics and song titles only serve to comfort and enthrall, not coming off as contrived weakling metal, like much badly written music within this genre (which would still be considered gothic DOOM metal, despite it's light delivery) often does. This is some strong music, as the emotional weight of the yearning compositions leave you flattened and deep down in thought and reverie. Their sad and beautiful ways on this classic release are heavy in feeling, tugging your heartstrings in a way that, say...Candlemass cannot, due to the romanticism and fearless exploration of realms saccharine in nature. Open your heart to a verily special bounty of feeling. You deserve a good release of tears, if only internally. Everyone does. Some just don't admit it.
9-15-13 TTSNSN
Satyricon
Satyricon
I will admit some journalistic weakness here. I was actually nervous when approaching myself about reviewing this release. I have been a fan of Satyricon since I was a crazy, somewhat-elitist, asshole teenager that delighted in owning literature, a complete CD library, and tons of merch from the sinister bands of black metal's inglorious days of destruction and controversial scandal. Yes, I know good black metal when I hear it. But when it's black metal that many others that are still the kind of person I was are having a very trendy and oh-so-20oos-2010s metal-asshole shitfit over...well; I almost froze up. Why? Because this, dear Shadowlighters, is a masterpiece.
That grand-statement is enough to relieve a bit of my initial trepidation about the aspects regarding Satyricon that has so many listeners reeling. Afterall, it's an eponymous statement in the form of a bold, yet very cohesive and comfortable collection of contemporary blackness and experimentation that works. It works so well because it's Frost and Satyr at their most passionate, meticulous, and knowingly masterful. Another grand-statement I will lay down here is that there is nothing, and I mean NOTHING, that warrants any of the pretentious bitching that the "Jewtubers" and "Assbookers" have been giving themselves boners over. We live in a time that evidences an attempted revolution against the very METAL scene that we so love. And it's these "fans" need to have journalists and reviewers (that have been faithful to these important bands and the legendary figures within) making these statements against their naysaying.
Not only is this an eponymous statement that says, "This wraps up our sentiment of all our years of passionate creation" - but the album cover itself is that verily same spirit: A Satyr. That says so much that a review of the album is basically null and void. Frost and Satyr have gained the right to say who they are both verbally and through artistic output. This album IS Satyricon.
I'd hate to give the bullshit the credibility of even mentioning it; but will go ahead as to dispel it. The "soft" and "overtly organic" production, along with a melancholic and smooth flow in the way of the songwriting is where I've seen the most whining and adversity from both other reviewers and fans. I personally hate that mindset. There is plenty of what the average Satyricon-banger has come to expect from all eras of this demonic duo. (Let it also be known that I'm allowing myself to be extremely subjective regarding this legendary band.) There's just such a lovingly dark, sad, and flowing mood to this piece of art. There's an analogy that came to mind when listening to this album for the 5th time through (see? I'm addicted). It really is far from a similar band; but It's much like how I felt about Amorphis with their experimentally flowing, and altogether lovely, Tuonela release - which followed the explosive and grand Elegy. The heavy-hitting and demanding personality was toned down, rounded-off, and lovingly crafted into a sound that crept into your heart, didn't make a single cut, but said "I am here. And this is who I am." (And if you look, throughout the years, many different sounds and overall-feelings have been produced by that said band since.) There was also just enough structural, yet methodic, complexity and focus in the way of tone and mood. That's what we have here in Satyricon's own sound. It IS Satyricon, has all the best elements, carefully showcases them, and offers them with an almost spiritual fervor that allows for a comfortable and euphoric sinking experience into a pit full of all the demons that the true fan has been therapeutically growing to know after all these years.
I'm not going to even come close to doing what most of the other reviewers have done regarding this release; which is listing out songs and aspects that are different, seem alien, or might be off-putting to a diehard fan. There's obvious parts (and even whole songs) that many feel deserve whole paragraphs to explain their supposed "letdown" characteristics. That's not even slightly something this reviewer sanctions...or even respects. Satyricon have earned my allegiance enough to where I not only accept them for what they have chosen to give me; I embrace it and fucking love it.
10-11-13 TTSNSN
Satyricon
I will admit some journalistic weakness here. I was actually nervous when approaching myself about reviewing this release. I have been a fan of Satyricon since I was a crazy, somewhat-elitist, asshole teenager that delighted in owning literature, a complete CD library, and tons of merch from the sinister bands of black metal's inglorious days of destruction and controversial scandal. Yes, I know good black metal when I hear it. But when it's black metal that many others that are still the kind of person I was are having a very trendy and oh-so-20oos-2010s metal-asshole shitfit over...well; I almost froze up. Why? Because this, dear Shadowlighters, is a masterpiece.
That grand-statement is enough to relieve a bit of my initial trepidation about the aspects regarding Satyricon that has so many listeners reeling. Afterall, it's an eponymous statement in the form of a bold, yet very cohesive and comfortable collection of contemporary blackness and experimentation that works. It works so well because it's Frost and Satyr at their most passionate, meticulous, and knowingly masterful. Another grand-statement I will lay down here is that there is nothing, and I mean NOTHING, that warrants any of the pretentious bitching that the "Jewtubers" and "Assbookers" have been giving themselves boners over. We live in a time that evidences an attempted revolution against the very METAL scene that we so love. And it's these "fans" need to have journalists and reviewers (that have been faithful to these important bands and the legendary figures within) making these statements against their naysaying.
Not only is this an eponymous statement that says, "This wraps up our sentiment of all our years of passionate creation" - but the album cover itself is that verily same spirit: A Satyr. That says so much that a review of the album is basically null and void. Frost and Satyr have gained the right to say who they are both verbally and through artistic output. This album IS Satyricon.
I'd hate to give the bullshit the credibility of even mentioning it; but will go ahead as to dispel it. The "soft" and "overtly organic" production, along with a melancholic and smooth flow in the way of the songwriting is where I've seen the most whining and adversity from both other reviewers and fans. I personally hate that mindset. There is plenty of what the average Satyricon-banger has come to expect from all eras of this demonic duo. (Let it also be known that I'm allowing myself to be extremely subjective regarding this legendary band.) There's just such a lovingly dark, sad, and flowing mood to this piece of art. There's an analogy that came to mind when listening to this album for the 5th time through (see? I'm addicted). It really is far from a similar band; but It's much like how I felt about Amorphis with their experimentally flowing, and altogether lovely, Tuonela release - which followed the explosive and grand Elegy. The heavy-hitting and demanding personality was toned down, rounded-off, and lovingly crafted into a sound that crept into your heart, didn't make a single cut, but said "I am here. And this is who I am." (And if you look, throughout the years, many different sounds and overall-feelings have been produced by that said band since.) There was also just enough structural, yet methodic, complexity and focus in the way of tone and mood. That's what we have here in Satyricon's own sound. It IS Satyricon, has all the best elements, carefully showcases them, and offers them with an almost spiritual fervor that allows for a comfortable and euphoric sinking experience into a pit full of all the demons that the true fan has been therapeutically growing to know after all these years.
I'm not going to even come close to doing what most of the other reviewers have done regarding this release; which is listing out songs and aspects that are different, seem alien, or might be off-putting to a diehard fan. There's obvious parts (and even whole songs) that many feel deserve whole paragraphs to explain their supposed "letdown" characteristics. That's not even slightly something this reviewer sanctions...or even respects. Satyricon have earned my allegiance enough to where I not only accept them for what they have chosen to give me; I embrace it and fucking love it.
10-11-13 TTSNSN
Basarabian Hills
Spirit Of The Native Land
There's a whole lot of this brand of atmospheric and/or "dreamy" material (that happens to sound somewhat rooted in a form of black metal) in my heart as of late. Forget what people say is and isn't proper labeling these days. People seem more focused on a cliquey placement, and debating thusly, than actually listening lately. This site is here to speak of things as they are, with the set-destination of being positive about something as relative as creativity - only to shun and admit minor disdains with reluctance. (I choose to not feature content that does not amuse me. But, very rarely, and justly; I shall completely blast a very deserved body of w...erm...shit, if it's just so in my face that I cannot ignore it.) And so, being that my soft-spot is admitted herein, we'll just explore an unavoidable fact here. A SOFT spot is needed to enjoy this particular release. If you don't have one, admit to such things, or hate making said "soft spot" surface in your persona - just avoid this project altogether, let alone this release by this ambient, sedated, and ethereal soundtrack to weird dreams that only involve a sprinkling of darkness within their boundaries. However, if you have a tendency to ease back and let things wash over you, letting go of your anxious attention-span - whilst giving in - you'll do well to get into Basarabian Hills.
So, atmosphere. This has it. Trance-like redundancy, comforting and bright keys, and just enough background distortion and 'verbed-out black metal vocals to consider them metal (if not post-___)...all are here. But I will not state that the goal is being fully reached. Sure, I listen to this one. I just don't listen to this one as much as their other material. The careful placement of nuances and structures found on an album like A Breath Of The White Valley (a bit of a superior release, to these ears) is not as present, letting monotony and attempted hooks venture near boredom. Near. Just let it be understood that I have not confused being in the wrong mindset or mood when approaching this one with feeling these detriments. The project does something very well that I do want from them. It's just elsewhere in their catalog.
Not to be written off, yet not to be considered the quintessential platter - this one is good to cause the interested party to seek out a more coherent representation of an undeniably interesting formula of sound.
8-18-13 TTSNSN
Spirit Of The Native Land
There's a whole lot of this brand of atmospheric and/or "dreamy" material (that happens to sound somewhat rooted in a form of black metal) in my heart as of late. Forget what people say is and isn't proper labeling these days. People seem more focused on a cliquey placement, and debating thusly, than actually listening lately. This site is here to speak of things as they are, with the set-destination of being positive about something as relative as creativity - only to shun and admit minor disdains with reluctance. (I choose to not feature content that does not amuse me. But, very rarely, and justly; I shall completely blast a very deserved body of w...erm...shit, if it's just so in my face that I cannot ignore it.) And so, being that my soft-spot is admitted herein, we'll just explore an unavoidable fact here. A SOFT spot is needed to enjoy this particular release. If you don't have one, admit to such things, or hate making said "soft spot" surface in your persona - just avoid this project altogether, let alone this release by this ambient, sedated, and ethereal soundtrack to weird dreams that only involve a sprinkling of darkness within their boundaries. However, if you have a tendency to ease back and let things wash over you, letting go of your anxious attention-span - whilst giving in - you'll do well to get into Basarabian Hills.
So, atmosphere. This has it. Trance-like redundancy, comforting and bright keys, and just enough background distortion and 'verbed-out black metal vocals to consider them metal (if not post-___)...all are here. But I will not state that the goal is being fully reached. Sure, I listen to this one. I just don't listen to this one as much as their other material. The careful placement of nuances and structures found on an album like A Breath Of The White Valley (a bit of a superior release, to these ears) is not as present, letting monotony and attempted hooks venture near boredom. Near. Just let it be understood that I have not confused being in the wrong mindset or mood when approaching this one with feeling these detriments. The project does something very well that I do want from them. It's just elsewhere in their catalog.
Not to be written off, yet not to be considered the quintessential platter - this one is good to cause the interested party to seek out a more coherent representation of an undeniably interesting formula of sound.
8-18-13 TTSNSN
Brutalody
The Usurper EP
Remember as a young metal addict, playing a song and a half of your favorite CD (or cassette, for that matter), then excitedly switching to another of your collection, and repeating the process through a handful of thrash, death, and classic metal albums, not because you are indecisive or wishy-washy; but because you just love METAL so much?
Well, obviously this is a memory of my own.
Whether you can identify with the various sentiments expressed already in this body of words or not - you will be able to appreciate the thought. In a mere EP, an up-and-coming band from Texas has brought back that eclectic memory for this writer. They do so without a hitch, cohesively exploring all that makes the best of pure metal exciting and enjoyable. They utilize this mindset within one identity. That band is Brutalody, and the EP is The Usurper.
There's a commanding presence from the band's sound from the getgo. As the title-track kicks off the festivities, one is greeted with the seething energy of a tight unit of extreme metal musicians showing what they can do, naturally, and in a refreshingly melodic idiom. Despite the blend of dual-guitar harmonies and aggressive rhythms in the instrumentation, there's no sign of the contemporary stigmas regarding what sub-genre linguists would call overused and tired. When I said "naturally", that's exactly what I mean to instill in my description here. Too many bands get caught in unwanted descriptive trappings by blending. This is best described as melodic death metal, but so much more, and not overtly contrived.
As mentioned in the above visualization of nostalgia, there's a listening experience with these 3 tracks. You could possibly attempt to put it on as background music to a speedy drive on the highway, or to a workout-session (both somewhat fitting settings), but you'd be distracted. It demands attention. If it's not a surprisingly cutting guitar lead that grapples your focus, it'll be a triumphant classic falsetto popping out of the mix from the varied growls to remind you that this band means business, and (to be blunt) isn't fucking around. This is METAL, in all it's vintage glory, brought to you in the modern intensity of a death metal band that obviously respects the genre's integrity.
There's shades of Gothenburg, stirred nicely into an intricate Coroner's brew, with some blackness and NWOBHM having a party around it. These thoughts can't be overlooked. However, my grand statement is that of maintained originality. This band has taken what they love and made it theirs.
8-22-13 TTSNSN
The Usurper EP
Remember as a young metal addict, playing a song and a half of your favorite CD (or cassette, for that matter), then excitedly switching to another of your collection, and repeating the process through a handful of thrash, death, and classic metal albums, not because you are indecisive or wishy-washy; but because you just love METAL so much?
Well, obviously this is a memory of my own.
Whether you can identify with the various sentiments expressed already in this body of words or not - you will be able to appreciate the thought. In a mere EP, an up-and-coming band from Texas has brought back that eclectic memory for this writer. They do so without a hitch, cohesively exploring all that makes the best of pure metal exciting and enjoyable. They utilize this mindset within one identity. That band is Brutalody, and the EP is The Usurper.
There's a commanding presence from the band's sound from the getgo. As the title-track kicks off the festivities, one is greeted with the seething energy of a tight unit of extreme metal musicians showing what they can do, naturally, and in a refreshingly melodic idiom. Despite the blend of dual-guitar harmonies and aggressive rhythms in the instrumentation, there's no sign of the contemporary stigmas regarding what sub-genre linguists would call overused and tired. When I said "naturally", that's exactly what I mean to instill in my description here. Too many bands get caught in unwanted descriptive trappings by blending. This is best described as melodic death metal, but so much more, and not overtly contrived.
As mentioned in the above visualization of nostalgia, there's a listening experience with these 3 tracks. You could possibly attempt to put it on as background music to a speedy drive on the highway, or to a workout-session (both somewhat fitting settings), but you'd be distracted. It demands attention. If it's not a surprisingly cutting guitar lead that grapples your focus, it'll be a triumphant classic falsetto popping out of the mix from the varied growls to remind you that this band means business, and (to be blunt) isn't fucking around. This is METAL, in all it's vintage glory, brought to you in the modern intensity of a death metal band that obviously respects the genre's integrity.
There's shades of Gothenburg, stirred nicely into an intricate Coroner's brew, with some blackness and NWOBHM having a party around it. These thoughts can't be overlooked. However, my grand statement is that of maintained originality. This band has taken what they love and made it theirs.
8-22-13 TTSNSN
Petrychor
Effigies and Epitaphs
This one could be a tricky listen for the picky listener. My reasoning behind a claim like that lies within a grand statement; which is that it is absolutely stunning. Now, to be stunned can mean many things. Let the records show that for yours truly, it's a good stunned. In fact, it is positively baffling. Thing is - a lot of bands (or projects, rather) that go for the multi-faceted approach like Petrychor does, thus congealing a mass of moods, tones, and structures, get either overtly worshipped, or written-off as a pretentious declaration of pompousness. I see no need in either, as the jarring nature of the mixed elements take the willing listener on a vast journey of emotions, yet not hinting at the "lookit what is happening here!" smugness. This does not place the music high upon a pedestal or condemn them. Petrychor has spirit.
There's classy folk, worlds of atmosphere, malicious outbursts, serene interludes, and changing production values. I have always found the latter to be a fascinating thing when not obviously a mistake. To completely shift the overall stance of an entity to fully represent the changing sentiments, well...that takes much more than mere performance. That takes meticulousness and care.
Some of the folk parts are so unique within a black metal encasement that I dare call it innovation. There are some downright PURE folk passages that borderline on dark bluegrass in speed and precision. Then, as mentioned, all of this gets violently shoved out of the way for some tonally atmospheric and progressive (and raw) black metal onslaughts. At times the dynamics and moodiness of this body of work are cinematic, using your own mind as it's screen as it projects journeys unfathomed.
Even with the stigma of lighthearted vibes that accompanies most mentions of "folk", this thing is dark. One should not expect to be prompted to build a campfire and dance around it like some wood-elf. Even the mildest of moments on this release are foreboding and shadowy enough to be properly represented by the album's beautifully spooky cover image. The nearly virtuostic performance here places Petrychor amidst other genius acts that had to have sold their souls. It's what I consider a logical suspicion...
7-16-13 TTSNSN
Effigies and Epitaphs
This one could be a tricky listen for the picky listener. My reasoning behind a claim like that lies within a grand statement; which is that it is absolutely stunning. Now, to be stunned can mean many things. Let the records show that for yours truly, it's a good stunned. In fact, it is positively baffling. Thing is - a lot of bands (or projects, rather) that go for the multi-faceted approach like Petrychor does, thus congealing a mass of moods, tones, and structures, get either overtly worshipped, or written-off as a pretentious declaration of pompousness. I see no need in either, as the jarring nature of the mixed elements take the willing listener on a vast journey of emotions, yet not hinting at the "lookit what is happening here!" smugness. This does not place the music high upon a pedestal or condemn them. Petrychor has spirit.
There's classy folk, worlds of atmosphere, malicious outbursts, serene interludes, and changing production values. I have always found the latter to be a fascinating thing when not obviously a mistake. To completely shift the overall stance of an entity to fully represent the changing sentiments, well...that takes much more than mere performance. That takes meticulousness and care.
Some of the folk parts are so unique within a black metal encasement that I dare call it innovation. There are some downright PURE folk passages that borderline on dark bluegrass in speed and precision. Then, as mentioned, all of this gets violently shoved out of the way for some tonally atmospheric and progressive (and raw) black metal onslaughts. At times the dynamics and moodiness of this body of work are cinematic, using your own mind as it's screen as it projects journeys unfathomed.
Even with the stigma of lighthearted vibes that accompanies most mentions of "folk", this thing is dark. One should not expect to be prompted to build a campfire and dance around it like some wood-elf. Even the mildest of moments on this release are foreboding and shadowy enough to be properly represented by the album's beautifully spooky cover image. The nearly virtuostic performance here places Petrychor amidst other genius acts that had to have sold their souls. It's what I consider a logical suspicion...
7-16-13 TTSNSN
Slugdge
Born Of Slime
This is not at all what I expected. A pal of mine recommended this to me when I was complaining about "feeling sluggish". Due to my circumstance, I expected dirty, slow, well...sludge metal. Some of the song titles are silly, but clever ("Slime Traveller", "Eyehatesalt", "Pod Hates Us All"). The cover is fun to look at, but still didn't hint at anything close to what I ended up with. I never expected the material to be this well-crafted, precise, multi-faceted, or so far away from the genre of sludge metal as it is.
Actually, there ARE some aspects that would fit a more upbeat band in the genre I suspected, yet would be aspects of said band stepping out of their genre a bit. So, no. It's simply just a good metal band having adequate and adventurous dynamics and changes. Truth be told; this is more of an artsy, somewhat avant-garde death metal album with some clean, melodic vocals thrown in between extreme parts (that contain low-to-mid-range growling and screaming). It's fairly diverse, recalling the feeling I get from latter-day Emperor, meaning their more death metal-flavored material (think Prometheus). Just throw in some early Swedish death metal dipped in an Acid Bath for a bit of an alternative twist, and we're only somewhat close.
And these nuances are not generic or lackluster. The band executes all aspects of these stylistic attributes with expert precision. Even the lyrics (based around slugs, seemingly both literally and metaphorically) are nicely written. Slugdge is truly one of those bands that makes me wonder why they aren't more popular. What they do is make extreme metal monstrously digestible without even showing any signs of commercialism - even with the wacky and unorthodox lyrical concept and trancey clean-vocals.
The riffs sprawl with both chordal and "scaley" craftsmanship, which is an aspect that is sure to suck a fan of experimentation and intricate composition (yours truly) right in. Hooks are present, yet never become tedious or exploited. It takes a skilled songwriter to allow for a memorable experience that will stand the test of time and remain intriguing. I've been all the way through this album three times so far, only to want more. I can tell this one will be in my player often.
TTSNSN - July, 7, 2013
Born Of Slime
This is not at all what I expected. A pal of mine recommended this to me when I was complaining about "feeling sluggish". Due to my circumstance, I expected dirty, slow, well...sludge metal. Some of the song titles are silly, but clever ("Slime Traveller", "Eyehatesalt", "Pod Hates Us All"). The cover is fun to look at, but still didn't hint at anything close to what I ended up with. I never expected the material to be this well-crafted, precise, multi-faceted, or so far away from the genre of sludge metal as it is.
Actually, there ARE some aspects that would fit a more upbeat band in the genre I suspected, yet would be aspects of said band stepping out of their genre a bit. So, no. It's simply just a good metal band having adequate and adventurous dynamics and changes. Truth be told; this is more of an artsy, somewhat avant-garde death metal album with some clean, melodic vocals thrown in between extreme parts (that contain low-to-mid-range growling and screaming). It's fairly diverse, recalling the feeling I get from latter-day Emperor, meaning their more death metal-flavored material (think Prometheus). Just throw in some early Swedish death metal dipped in an Acid Bath for a bit of an alternative twist, and we're only somewhat close.
And these nuances are not generic or lackluster. The band executes all aspects of these stylistic attributes with expert precision. Even the lyrics (based around slugs, seemingly both literally and metaphorically) are nicely written. Slugdge is truly one of those bands that makes me wonder why they aren't more popular. What they do is make extreme metal monstrously digestible without even showing any signs of commercialism - even with the wacky and unorthodox lyrical concept and trancey clean-vocals.
The riffs sprawl with both chordal and "scaley" craftsmanship, which is an aspect that is sure to suck a fan of experimentation and intricate composition (yours truly) right in. Hooks are present, yet never become tedious or exploited. It takes a skilled songwriter to allow for a memorable experience that will stand the test of time and remain intriguing. I've been all the way through this album three times so far, only to want more. I can tell this one will be in my player often.
TTSNSN - July, 7, 2013
Guttural Secrete
Nourishing The Spoil
It's a very bizarre thing for me to say, but...this brutal, neo-whateverthekiddiescallit, sick band have shown major levels of maturity and depth on their newest (and reportedly last) offering. It's a difficult thing to fathom from a band with song-titles like "Fecal Stuffed Fuck Stumps". But fathom, we must - as this collection of wretched tunes has sculpted a world of cerebral and corporeal horrors that is equal to their past's disgusting ways, yet increased by a feeling of dread that can only be created by furthering a vibe of darkness fit for Lovecraft's nightmares.
It's as if the members of Guttural Secrete felt a bit worn with listening to bands not unlike themselves, and decided that what they needed to do regarding shock could only come from digging out albums by Deathspell Omega and Mitochondrion, letting the subconscious influence steep their brains in terror. Regardless of what it was that actually influenced them on this album; the ever-important VIBE that I always speak of is what most of today's "brutal" bands sacrifice for shock-value. But it's here, and it's DARK. This thing is like Ed Gein listened to Devourment, then attached electrodes to his head while he replayed it in deep REM sleep that harbored all his torturous dementia atop it like a shroud, burning the new remix for us as a final product. If this truly is all we will hear from this band from here on, they sure did go out with a murderous piece of music as their swansong.
"Deadened Prior To Coitus" is a perfect example of what I am saying. The clean, spooky guitar-lines at the beginning of this track includes the tortured cries of a desecrated female victim atop them, for that lovely visualization that we all need like the 15th beer.The song's sprawling, rotten melodies interwoven amongst their traditional brutal grooves and erratic changes instantly invoke that feeling of dread I was talking about. The rest of the songs are similar, yet have a distinction of their own amidst the chaos. The dank-yet-decipherable production dishes out this undeniably musical racket in a way that not only fits the band's methods, but showcases it. "Toilet" vocals and roars dominate the atmosphere like a zombie on steroids, being complimented by little goblin screeches in the background in sporadic intervals. As the band chugs and plods, blasting between fills and splattered double-bass, guitar squeals pop in and out as they have been known to do so well. This thing is not capable of boring the listener, but fascinating them with an abundance of enjoyably negative emotions.
The tasteless, psychotic, black-humor (pun intended) returns with the intro to "Coprophilic Asphyxia"...among other delightful surprises. Somehow this kind of playfulness doesn't recede the darkness in the least. The album just continues to disturb and entertain till the final notes. So, if you're already a fan of this furious brute of a band, Nourishing The Spoil will definitely further that sentiment. Get this.
TTSNSN - June, 30, 2013
Nourishing The Spoil
It's a very bizarre thing for me to say, but...this brutal, neo-whateverthekiddiescallit, sick band have shown major levels of maturity and depth on their newest (and reportedly last) offering. It's a difficult thing to fathom from a band with song-titles like "Fecal Stuffed Fuck Stumps". But fathom, we must - as this collection of wretched tunes has sculpted a world of cerebral and corporeal horrors that is equal to their past's disgusting ways, yet increased by a feeling of dread that can only be created by furthering a vibe of darkness fit for Lovecraft's nightmares.
It's as if the members of Guttural Secrete felt a bit worn with listening to bands not unlike themselves, and decided that what they needed to do regarding shock could only come from digging out albums by Deathspell Omega and Mitochondrion, letting the subconscious influence steep their brains in terror. Regardless of what it was that actually influenced them on this album; the ever-important VIBE that I always speak of is what most of today's "brutal" bands sacrifice for shock-value. But it's here, and it's DARK. This thing is like Ed Gein listened to Devourment, then attached electrodes to his head while he replayed it in deep REM sleep that harbored all his torturous dementia atop it like a shroud, burning the new remix for us as a final product. If this truly is all we will hear from this band from here on, they sure did go out with a murderous piece of music as their swansong.
"Deadened Prior To Coitus" is a perfect example of what I am saying. The clean, spooky guitar-lines at the beginning of this track includes the tortured cries of a desecrated female victim atop them, for that lovely visualization that we all need like the 15th beer.The song's sprawling, rotten melodies interwoven amongst their traditional brutal grooves and erratic changes instantly invoke that feeling of dread I was talking about. The rest of the songs are similar, yet have a distinction of their own amidst the chaos. The dank-yet-decipherable production dishes out this undeniably musical racket in a way that not only fits the band's methods, but showcases it. "Toilet" vocals and roars dominate the atmosphere like a zombie on steroids, being complimented by little goblin screeches in the background in sporadic intervals. As the band chugs and plods, blasting between fills and splattered double-bass, guitar squeals pop in and out as they have been known to do so well. This thing is not capable of boring the listener, but fascinating them with an abundance of enjoyably negative emotions.
The tasteless, psychotic, black-humor (pun intended) returns with the intro to "Coprophilic Asphyxia"...among other delightful surprises. Somehow this kind of playfulness doesn't recede the darkness in the least. The album just continues to disturb and entertain till the final notes. So, if you're already a fan of this furious brute of a band, Nourishing The Spoil will definitely further that sentiment. Get this.
TTSNSN - June, 30, 2013
Ancient
Mad Grandiose Bloodfiends
Hidden classics, obscured by time and the hype of other albums by the artist, as well as shrouded by their proclaimed detriments, can be an endearing treasure to certain fans. I'm one of those fans, and one of those albums is Mad Grandiose Bloodfiends. It's one of those third-wave black metal albums of the 90s that got overshadowed by it's predecessor (The Cainian Chronicle), written off by the genre's "elitists", becoming virtually forgotten after certain lineup changes and better marketing for the albums to follow.
"Vampyric Black Metal" had already begun to acquire a slew of "True Norwegian Black Metal" enemies due to the popularity and celebration of the Cradle Of Filth boomers, which was worsened by the fact that Ancient were a primarily Norwegian act. Also, letting your brand of contemorarily hip extreme metal have just a bit more cheese on the table than the genre's leading contender didn't help matters much. Having a vocalist that could shriek tinnitus directly into the listener's ears seemed to condemn more than impress, and the inclusion of a female member for the purpose of spoken-word and the occasional melodic singing just spread the icing on the cake. The album, for the most part, was written-off by many before even being given a chance.
Despite the preconceived condemnation, Mad Grandiose Bloodfiends is a very enjoyable and unique album. Unique?! Yes! Please allow me to elaborate before having a hissy. I did mention a few similarities between this Norwegian horde of fanged-ones and a certain "Filthy" trendsetter. However, that was more of a primer than a final coat.
What can be said concerning originality on this release is in surprising abundance. My amount of praise for the evocative performances and atmosphere herein is also quite bountiful. And while I have stated that this album is quite cheesy - I did not yet mention that it's a quality that I tend to find works damn well. It's as if the band were well aware that this was a genre worth having fun with. Future releases from similar artists seem to verify that this is not an entirely boneheaded idea. (Perhaps these bands borrowed back?) Yet, like Mortician; I'm still trying to figure out how intentional this reliance on an otherwise negative feature is. However (again - like Mortician), it's apparently a meant-to-be, 'cause it's fun as hell.
Spoken-word is as common on this disc as on Mayhem's Grand Declaration Of War opus, yet both male and female, and always atop a much dreamier soundscape. This happens to be one of those aforementioned "unique" qualities, and it's both mesmerizing and unsettling. The remainder of the vocals run the gamut: bat-screeches, low growls, midrange snarls, maniacal laughter, which brings me to King Diamond impressions (especially, of course, on the impressive cover of Mercyful Fate's "Black Funeral"), and deep, sultry, female melodic vocals; which is also a very unique way to present them. The theatrical presentation of the vocals on this release are laughably charismatic, yet in that undeniably fun way I had mentioned.
Musically, Ancient is still much more Norwegian in their blackness than that of "Goff Me'lers", Cradle Of Filth, and show it with their surfy, tremolo-picked power chords, which are usually placed over blast beats or simplistic punk rhythms. This is not to say that the drums are mundane. Vocalist Kaiaphas is (to these ears) up there with, or close to, the best of the black metal drummers I can think of, especially with his creative usage of descending tom work, rapid blasting, climactic build-ups, and rolling double-bass. The fact that he pulled double duty on this one is all the more impressive. Being a third-wave band almost certainly ensures much keyboard usage and gothic doom leanings, and Ancient doesn't skimp there. The fact that tasty guitar solos are used when called for helps their case all the more.
To conclude, there are some positively goofy moments to be found on Mad Grandiose Bloodfiends, yet approaching it with the prospect of entertainment in mind will surely guarantee some kind of bloody good time.
TTSNSN - June, 29, 20013
Mad Grandiose Bloodfiends
Hidden classics, obscured by time and the hype of other albums by the artist, as well as shrouded by their proclaimed detriments, can be an endearing treasure to certain fans. I'm one of those fans, and one of those albums is Mad Grandiose Bloodfiends. It's one of those third-wave black metal albums of the 90s that got overshadowed by it's predecessor (The Cainian Chronicle), written off by the genre's "elitists", becoming virtually forgotten after certain lineup changes and better marketing for the albums to follow.
"Vampyric Black Metal" had already begun to acquire a slew of "True Norwegian Black Metal" enemies due to the popularity and celebration of the Cradle Of Filth boomers, which was worsened by the fact that Ancient were a primarily Norwegian act. Also, letting your brand of contemorarily hip extreme metal have just a bit more cheese on the table than the genre's leading contender didn't help matters much. Having a vocalist that could shriek tinnitus directly into the listener's ears seemed to condemn more than impress, and the inclusion of a female member for the purpose of spoken-word and the occasional melodic singing just spread the icing on the cake. The album, for the most part, was written-off by many before even being given a chance.
Despite the preconceived condemnation, Mad Grandiose Bloodfiends is a very enjoyable and unique album. Unique?! Yes! Please allow me to elaborate before having a hissy. I did mention a few similarities between this Norwegian horde of fanged-ones and a certain "Filthy" trendsetter. However, that was more of a primer than a final coat.
What can be said concerning originality on this release is in surprising abundance. My amount of praise for the evocative performances and atmosphere herein is also quite bountiful. And while I have stated that this album is quite cheesy - I did not yet mention that it's a quality that I tend to find works damn well. It's as if the band were well aware that this was a genre worth having fun with. Future releases from similar artists seem to verify that this is not an entirely boneheaded idea. (Perhaps these bands borrowed back?) Yet, like Mortician; I'm still trying to figure out how intentional this reliance on an otherwise negative feature is. However (again - like Mortician), it's apparently a meant-to-be, 'cause it's fun as hell.
Spoken-word is as common on this disc as on Mayhem's Grand Declaration Of War opus, yet both male and female, and always atop a much dreamier soundscape. This happens to be one of those aforementioned "unique" qualities, and it's both mesmerizing and unsettling. The remainder of the vocals run the gamut: bat-screeches, low growls, midrange snarls, maniacal laughter, which brings me to King Diamond impressions (especially, of course, on the impressive cover of Mercyful Fate's "Black Funeral"), and deep, sultry, female melodic vocals; which is also a very unique way to present them. The theatrical presentation of the vocals on this release are laughably charismatic, yet in that undeniably fun way I had mentioned.
Musically, Ancient is still much more Norwegian in their blackness than that of "Goff Me'lers", Cradle Of Filth, and show it with their surfy, tremolo-picked power chords, which are usually placed over blast beats or simplistic punk rhythms. This is not to say that the drums are mundane. Vocalist Kaiaphas is (to these ears) up there with, or close to, the best of the black metal drummers I can think of, especially with his creative usage of descending tom work, rapid blasting, climactic build-ups, and rolling double-bass. The fact that he pulled double duty on this one is all the more impressive. Being a third-wave band almost certainly ensures much keyboard usage and gothic doom leanings, and Ancient doesn't skimp there. The fact that tasty guitar solos are used when called for helps their case all the more.
To conclude, there are some positively goofy moments to be found on Mad Grandiose Bloodfiends, yet approaching it with the prospect of entertainment in mind will surely guarantee some kind of bloody good time.
TTSNSN - June, 29, 20013
Vader
Welcome To The Morbid Reich
Vader is not a name that is unknown to death metal fans. I've noticed two categories for those that have encountered these Polish aggression-launchers. There's those that find their blend of extreme elements to be perfect - the memorable riffs, the blasts, the clear and powerful grunts, the madness of the solos (that typically consist of much dive-bombing, squeals, and trills, all done in a very chaotic fashion), and the dark, tough, attitude-heavy song titles. The other side sees the band as average, not "growly" enough, too thrashy for their levely of heaviness, and just plain bland. Well...those people didn't take the time to fully understand Vader. Needless to say, I fall into the first category. I don't need to hear belching and gurgling (though it is appealing), blast/chug/blast/chug/repeat, and arpeggio sweeping all over the place. With the level of fury emanated from Vader's signature sound, the grunting, shouted-growling gives it a nice coherency. The more traditional death metal (the kind derived from thrash) riffs keep the barrage sharp and cutting. The blasting...oh, the glorious blasting; keeps them ahead of the game when it comes to more (dare I say) vintage death metal. So, with the description of their overall sound being described by a thumbs-up by this reviewer, I'll move on to this particular release.
I don't want to gush or sound too driven by immediate fanaticism, but I'd go as far as to say that this could be Vader's best - or at least right up there with their best. All the aforementioned elements are present on Welcome To The Morbid Reich, yet the focus on perfection seems taken up a notch. This is not to say that the band has ventured into those sometimes soulless, tech-death production values. Not at all. The case with the amped-up elements lies in the songwriting, structuring, and clear (yet still pummeling) production.
As for songwriting, a Vader fan will not only be pleased, but surprised. There's elements that are unusual (a high scream here, part of a solo with a tasty minor-scale theme there), but seem to fit like they were always present in the Vader sound. The structures are memorable, yet more adventurous in a few ways that also seem comfortable alongside the traditional nuances. The breakneck drumming is surgically precise. Some of the speedy, thrash timings of the vocal patterns could make Tom Araya raise both eyebrows ("Decapitated Saints"). New lead-guitarist, "Spider", must be named so due to his bafflingly dexterious fretboard dancing. The dude's presence is definitely noticable alongside the usual "noisy" harmonic freakouts. There's some truly classy licks all over this album, which I feel were one thing that the band's sound could benefit from. Looks like they thought so too.
The overall mood of this album is brilliant. It's aggressive as all get-out, but there's an ominous darkness present that most bands as furious as this tend to lose. It all goes so well with the treacherous album cover and title. This band seems to always do one thing in particular without fail. They deliver what they offer.
TTSNSN - June, 26, 2013
Welcome To The Morbid Reich
Vader is not a name that is unknown to death metal fans. I've noticed two categories for those that have encountered these Polish aggression-launchers. There's those that find their blend of extreme elements to be perfect - the memorable riffs, the blasts, the clear and powerful grunts, the madness of the solos (that typically consist of much dive-bombing, squeals, and trills, all done in a very chaotic fashion), and the dark, tough, attitude-heavy song titles. The other side sees the band as average, not "growly" enough, too thrashy for their levely of heaviness, and just plain bland. Well...those people didn't take the time to fully understand Vader. Needless to say, I fall into the first category. I don't need to hear belching and gurgling (though it is appealing), blast/chug/blast/chug/repeat, and arpeggio sweeping all over the place. With the level of fury emanated from Vader's signature sound, the grunting, shouted-growling gives it a nice coherency. The more traditional death metal (the kind derived from thrash) riffs keep the barrage sharp and cutting. The blasting...oh, the glorious blasting; keeps them ahead of the game when it comes to more (dare I say) vintage death metal. So, with the description of their overall sound being described by a thumbs-up by this reviewer, I'll move on to this particular release.
I don't want to gush or sound too driven by immediate fanaticism, but I'd go as far as to say that this could be Vader's best - or at least right up there with their best. All the aforementioned elements are present on Welcome To The Morbid Reich, yet the focus on perfection seems taken up a notch. This is not to say that the band has ventured into those sometimes soulless, tech-death production values. Not at all. The case with the amped-up elements lies in the songwriting, structuring, and clear (yet still pummeling) production.
As for songwriting, a Vader fan will not only be pleased, but surprised. There's elements that are unusual (a high scream here, part of a solo with a tasty minor-scale theme there), but seem to fit like they were always present in the Vader sound. The structures are memorable, yet more adventurous in a few ways that also seem comfortable alongside the traditional nuances. The breakneck drumming is surgically precise. Some of the speedy, thrash timings of the vocal patterns could make Tom Araya raise both eyebrows ("Decapitated Saints"). New lead-guitarist, "Spider", must be named so due to his bafflingly dexterious fretboard dancing. The dude's presence is definitely noticable alongside the usual "noisy" harmonic freakouts. There's some truly classy licks all over this album, which I feel were one thing that the band's sound could benefit from. Looks like they thought so too.
The overall mood of this album is brilliant. It's aggressive as all get-out, but there's an ominous darkness present that most bands as furious as this tend to lose. It all goes so well with the treacherous album cover and title. This band seems to always do one thing in particular without fail. They deliver what they offer.
TTSNSN - June, 26, 2013