Walknut - Graveforests and Their Shadows

Walknut - Graveforests and Their Shadows

Pure, unadulterated, raw, atmospheric. I would leave the review at that. Nothing else. But that is not doing it justice. This is so awe-inspiring and the impression this Russian duo's first release leaves is so indelible that I have to fight the urge to leave the review at "amazing".

«Graveforests and Their Shadows» is one of the strongest and most depressive releases to hit black metal in a very long time. Pulling the doom inspired ten-minute drones, Walknut's first release, at only six tracks (two could be considered an intro and outro, though not labeled as such), will leave your eyes watering and body covered in goosebumps. I do not get this emotional about anything. I cannot do this album justice with my trite words. Listen to it. If there is any fiber of your being that yearns for something new, mournful, bleak, completely encompassing, overwhelming and graceful... go listen. I will not liken them to any previous works, although they liken themselves to black metal giants Burzum and Strid.

Stringsskald and Ravnaskrik have made a masterpiece here and I will say that without hesitation. Epic and raw with interludes of the blackest vocals. Evoking an image of a fir grove in the December moonlight on the harsh Russian steppe, glowing after a fresh snow fall. Amazing. They have set the bar high with this as their first release, and featuring members of Temnozor and Forest, I don't think we could have expected much less.

Original review at http://www.chroniclesofchaos.com/reviews/

Atmospheric Black Metal, Russia
Full-length, Stellar Winter Records
April 24th, 2007

Easy-share: Download Here

Trayjen - Walking among the stones of fire

Trayjen - Walking Among the Stones of Fire

Surrealistic Black Metal, USA
Full-length, Flamme Noire
May 25th, 2008

Easy-Share Download Here

Lantlôs - Lantlôs

Lantlôs - Lantlôs

It sounds rather clichéd, but as I was walking home at night recently, I passed by a cemetery, tombstones wrapped up in fog like a blanket, protecting the spirits of the dead from the evil of the living. This eerie backdrop was the setting for the debut of Lantlôs, a German black metal band, likened to bands such as Alcest (perhaps unjustly), whom are adored by numerous members of the listening public. This self-titled debut, which came out this year (2008), is a remarkably mature piece of work. I expected from this a highly primitive black metal act, reminiscent of other German black metal bands like Sterbend and Wigrid who, whilst being undeniably strong, are often adaptations of the work of Burzum. Lantlôs, on the other hand, are not an adaptation of any band I can think of. Whilst their music will undoubtedly establish some connections between themselves and other remarkable acts across the globe, their sound has a fresh appeal, leading to me believing that this self-titled effort is a tremendous and emotively charged outing. Records like this demand respect and should justifiably given it. The accessibility of this record is important to it’s marketable value. The distortion, which is present the majority of the time, isn’t too heavy and doesn’t overpower enough to limit the success of this record. Production value has a lot to do with this. The production allows the abiding aggression to ease it’s way into the picture, as opposed to forcibly inserting itself into it. The production is clean enough to give the bass room to breath, which is important to the instrumentation and the free flowing melancholic vibe that persists amid the classy construction of songs.

Whether we’re dealing with the majestic ‘Ëin’, or the superbly submissive effort, ‘Kalte Tage’, Lantlôs are a commanding, imperative and imperious act, establishing a diversely mature sound through solid musicianship and brilliant song structures which develop well the soundscapes that are ever present. Bands like this come along once in a lifetime. This isn’t to say that Lantlôs provides the listener with a truly unique offering, differing from the majority of it’s class, but it does provide a thoroughly enjoyable journey through the hidden realms subtlety. The commanding nature of this record is incredibly important to the outlook of the record, as a whole, in hindsight. Despite the fact that most people claim that every sound has been achieved within the genre, leading to a lacklustre influx of directionless and disappointing bands, Lantlôs provide, as stated, a fresh take on a sound that has become somewhat popular over recent years within the black metal scene. There are often debates as to whether or not Lantlôs incorporate various sub-genres of metal, and outside influences into their music. First, there are those who claim that Lantlôs are primarily a depressive black metal act, supported by the heavy down trodden distortion of both guitars, which produce highly depressive soundscapes and relentless rasping vocal work and second, there are those who claim there is a post-rock vibe coursing throughout the records veins, due to the slightly progressive nature of the music. I suppose, to an extent, one can understand the argument, particularly when taking songs like ‘Kalte Tage’ into consideration, with it’s formidable use of two guitars, interchanging and interlocking riffs which soar to abysmally bleak heights, as well as largely successful bass lines, which draw out the emotions of the listener like a hermit from it’s home.

Personally, I see Lantlôs as a specific black metal band, shown in songs like ‘þinaz Andawlitjam’, but meshed with slight experimentation, shown in the acoustic instrumental track, ‘Ëin’, which is simplistic and subtle in it‘s display of beauty and contrasted sorrow. Black metal is a genre that has slowly but surely developed hints of an avant-gardé nature. Elements like acoustics, a bass section in the foreground and sparse vocals which allow instrumentation to portray most of the music’s ideologies are finding their way into black metal. Lantlôs are one of these acts who’re trying and succeeding with ease to change the perceptions of black metal, as a global force. Much of the instrumentation is accessible, as stated. This allows often overshadowed elements, like bass, to be fully appreciated in the context of the record. The bass is used as an underlay to the work in which the guitars produce. It, effectively, produces a base for the guitars to build upon, much like a foundation for a house. All elements come together with inspired ease and swift simplicity. Although, as stated, this record doesn’t lean towards the most experimental side of the spectrum, there is enough experimentation, in all areas, to keep listeners interested throughout. Songs like ‘Kalte Tage’, with it’s melancholic lead guitars build a monument to the modernisation of black metal. Times are changing and Lantlôs are changing with it, not against it. For fans of the changing modern scene.

Original review at: http://metal-archives.com/

Black Metal/Post-rock, Germany
Full-length, ATMF Records
September 22nd, 2008

Easy-Share Download Here

Ne Obliviscaris - The Aurora Veil

Ne Obliviscaris - The Aurora Veil

On a global scale, Australia has been home to mostly lacklustre bands in recent years who offer little considerably unique in the metal field, with the exception of a handful of bands such as The Amenta, Elysian Blaze and a few others. This period may be drawing to a close, for a new band has emerged quite unlike any other before it from Australia or anywhere else in the world.

Gathering a cult following before even releasing this, their first demo (initially slated to be their debut EP), Ne Obliviscaris hail from Melbourne, a city renowned for its deep culture of music and the arts. Such a rich environment provides a natural backdrop for the short history of these young highly talented musicians.

"The Aurora Veil" opens with explosive drumming courtesy of Daniel 'Mortuary' Presland, and tightly executed Black Metal, puncutated with Xenoyr's slicing, sharp snarls. Don't become too too comfortable with this - only a handful of bars in, there is an unexpected turn: blossoming colours of timechanging and arpeggiated structures arrive akin to the heralding of a new Spring season, accentuated by a Pizzicato (plucking of a violin), before taking a short return to the frenzied Black Metal basis, however this time framed by Xenoyr's Death Metal growls and a strong falsetto (executed so beautifully that one could mistake it for a female midrange register) by violinist and clean vocalist Tim Charles.

Only one and a half minutes into one song, and already the band has combined three different styles into their composition while firmly providing strong colours throughout their delivery. This very trait provides a (paradoxically) simple, basic expression to the Ne Obliviscaris musical character, for what is to come is unique in Black Metal, or any style of metal for that matter.

Movements of almost Bach-like nature (think along the lines of "Works for Lute BWV 995-997"), voiced with a flamenco tongue herald sweeping violin bowstrokes, evoking a weeping, emotionally saturated dirge. It's difficult trying to keep your eyes dry during these sections of the recording. The technique is a powerful emotional tool, executed like few bands have the capability to do. When one expects to hear it again in another song, it is perhaps voiced through a blend of almost gypsy-like folk, which melds into metal. Truly ingenious, highly creative and unpredictable.

These movements, however, unveil the definitive and unqiue character of Ne Obliviscaris' music: the inclusion of violin is nothing new in Metal: one of the most famous bands to use violins was none other than My Dying Bride, and the instrument has since been taken up by countless cloned gothic doom bands since. None however, have used the instrument's voice in its true virtuosic form and this is exactly what Ne Obliviscaris have achieved here, and for what could be the first time in Metal history. Instead of the two virtuso being guitarists, one is instead a violinist. The result is a beautiful and vibrant spectra of pale colours, combined with a powerful shift back and forth between virtuoso violin and guitars. It is mindnumbing at how effective this method is, how natural it sounds.

A wise young friend said to me recently, that most bands, especially at their humble beginnings, have a weak link - be it songwriting, musicianship, or dedication. With Ne Obliviscaris there is truly none. The only thing which can possibly come close is the (barely) audible trait of a bands' youth but that is all. Given their upcoming album, it is highly conceivable that any trace of youthful songwriting will disappear quickly, to be replaced by the more evolved version of the already powerful maturity and depth that the band exhudes.

Each member of the band is a master of their instrument. Both guitarists, Matt Klavins and Corey King, play emotionally, aggressively, and classically. Bassist Brendan 'Cygnus' Brown's playing covers a large range of his fretboard, evident in diverse structures throughout the songs, and he also plays with blistering speed in the opening song "Tapestry Of The Starless Abstract". Drummer Daniel 'Mortuary' Presland's playing is perhaps the most solid Black Metal styled drumming heard yet from an Australian band, he handles timechanges and consistency of speed with great confidence. These musicians, along with Xenoyr and Tim Charles, combine to form a band of formidable unity and strength, and the best part of their journey is that it has only just begun.

"The Aurora Veil" is a stunning commencement to what will surely be an amazing forthcoming career. There is no doubt that Ne Obliviscaris will lead Australia's metal reputation to great heights in the coming years, and I, among many others, will watch with wide eyes for this band to ascend to the Pacific metal throne on the back of this stunning and beautiful debut release.

Original review at: http://metal-archives.com/

Progressive Black Metal, Australia
Demo, Self-Released
April 21st, 2007

Easy-Share Download Here

Paysage d'Hiver - Kristall & Isa

Paysage d'Hiver - Kristall & Isa

I couldn't help first commenting on some things said in the review below me, which I know is somewhat unfair because the reviewer will have no chance to reply to mt comments. I honestly think though that it would be ill advised to take advice as to how to interpret the atmosphere of this album from a review that describes parts of this as techno. Everyone can think what they like, but I think that the correct approach is needed to all music to properly and fully enjoy it.

That being said, this music is all about repetition and atmosphere and little about technicality, individual riffs and melodies, or indeed even solely the musical aspect of Paysage d'Hiver. PdH is one of those bands where the concept is either hit or miss, you connect with the musics themes and ideas or you don't (which offers a perfectly fine and legitimate explanation as to why someone would rate this low). I find myself able to connect with the music and the whole aesthetical concept of PdH, and write my review in a way that assumes that the reader may potentially understand the music as well.

The songs are very basic, drumming shows little signs of life besides a droning pound that soon engraves itself into the back of the production. Guitars are a blaze of sound without a discernible shape to them that would lend them the ability to play a distinct melody. Everything drones and repeats quite a bit, and only the vocals and synth provide the variation needed to not make this something that would indeed be boring. All the elements together make this album full enough to be able to convey the emotions and ideas put into it.

The main concepts of course are winter and darkness, and the music provides a platform to meditate on these concepts. If one can understand this link of what the music means in relation to the concept of PdH, then the music will immediately make more sense. One will come to realize that this particular music is music to think and even dream upon. It opens up the imagination and paints landscapes of darkness and snow. That is why the repetition and steady droning of the guitars is essential. It is so that there will be no sudden in jolt to ones thoughts. The only breaks appear in between songs, during which some ambient noises can be heard before fading into the next droning song.

Those familiar only with the ambient work of Wintherr might dismiss this at first, but in essence both styles of PdH ultimately achieve the same end of creating an immense atmosphere. The only difference is that the black metal side of PdH is considerably harder to appreciate at first, becuase it is far less melodic and calm than the ambient works. Highly recommended as music to listen to while relaxing or before sleeping, but not as black metal that is played in the background or in an environment where it is secondary, because this music demands your attention!

Original review at http://metal-archives.com/

Black Metal, Ambient, Switzerland
Demo, Kunsthall Produktionen
2001

Easy-share: Download Here

Mystic Forest - Waltz In The Midst Of Trees

Mystic Forest - Waltz In The Midst Of Trees

Melodic, Romantic Black Metal, France
Full-length, Sacral Productions
November 2002

Waltz in the Midst of Trees is a harrowing experience of the beautiful and elegiac, setting the listener into a rich forest, but painfully stripping away all of its last beauty.

Easy-share: Download Here