Steingrab - Reise ins Ungewisse
Atmospheric Black Metal, Germany
Full-length, Wolfsgrimm Rec.
July 25th, 2009
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6 de dez. de 2009
Totalselfhatred - Totalselfhatred
With members from prominent bands like Horna and Pest, Totalselfhatred have rained down from Finland in 2005 to bring depressive black doom with melodious guitars, vibrant bass lines, resounding drums and vocal melding to all. Now, but three years later, these moody fellows master the whole somber ambiance with the biting coldness of abandonment and anguish shtick on self-titled “Totalselfhatred”.
An echoing and light piano/guitar coupling travels through the soothing “Enlightenment” softly, gracefully contrasting the black metal screams and strong bass beats. The guitar parts are quite airy and the vague synthesizers are graciously not overpowering. “Sledgehammer Heart” consists of more dramatic heights as the drums and guitars seem to have more of a peal to them while the piano is rather hidden. On “Spirituelle Equilibrium” amazing and smooth clear vocals shine in the form of a low voice and a higher, more chorus-like tone still with crazed screams wavering between groans and raspy cries. The intense pulsating, intravenous instruments work very well with the melancholy atmosphere of “Totalselfhatred.” A change from the pretty repetitive flows, “Mighty Black Dimensions” and its blazing guitars play more in the black metal stream. Tracks are also becoming longer too, surpassing the seven minute mark. “Carving” is also superbly more black metal than the previous offerings and adds a nice volt to the ears as rougher feelings emerge in the end.
No overblown keyboarding resting upon depressive black doom chalking up a sedative lumbering with full bass-lines and strong production. “Totalselfhatred” is surprising for a debut full-length following behind one 3-song promo two years earlier. Amped up production doesn’t erase the raw atmosphere of “Totalselfhatred,” but does do a better job at showing off this band’s gleam.
Original review at: http://metal-archives.com/
Depressive black metal, Finland
Full-length, Ordo Decimus Peccatum
June 25th, 2008
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Wigrid - Die Asche Eines Lebens
Black Metal, Germany
Full-length, No Colours Records
June 16th, 2005
The Digipack CD is limited to 1000 copies
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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
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9 de out. de 2009
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
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Thorngoth - Rauhnacht
Germans Thorngoth have improved from Thelema of Destruction, this being their second album. Eight hymns of foreboding yet triumphant black metal, about as pure as you can get before being crushed into dust. Original they are not, but they have sharpened this blade to a fine edge.
"Curse Them" begins with a crushing wall of hostility, then collapses into a mid-paced Bathory groove with a tasteful lead. "Kill for Paradise" alternates between blasting black punk and slower, discordant Norse riffing. "Schiachperchten" has a savage yet longing bridge. "Der Wanderer" is your perfectly pure, mid-paced black metal glory. "Nihilistic Visions" begins with an acoustic lick, then an evil, driving track worthy of Marduk or Dark Funeral. "Salvation in Silence" is beautiful, with subtle leads, my favorite on the album after the first few listens. The final track "Still, von Ewigkeit" is a longing, slower piece, somber and fulfilling.
In the end, Rauhnacht oozes class. The album sounds fantastic, a balanced mix fully expressed in both the rhythm and leads. Akhorahil has a suitably daemonic rasp to marinate each track in evil. Yet, one can't help but feel that the album overall also emanates a profound sorrow. Along with recent Lunar Aurora, Dark Fortress, Eternity, Wolfsschrei, and others, one can't help but feel Germany is developing the most potent black metal scene in the world.
Originally written by AUTOTHRALL for "From the Dust Returned" Blog
Black Metal, Germany
Full-length, Folter Records
2008
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Wolfhetan - Entruckung
Wolfhetan’s debut album Entrückung is a rare little gem perhaps a bit rough or uneven for the general listener and hence woefully overlooked. In general it seems that often the metal scene and its various adherents routinely overlook that which is serene and monumental in epic austerity. Often the best pagan metal bands are overshadowed by those that strike out to be more KVLT, more Viking, more technical masturbatory, or what have you, but it is the simple yet momentous elements that made the early work of Drudkh, Gorgoroth and even Ulver legendary.
Having read a few reviews of this magnanimous record elsewhere, I could not help but think that the reviewers were caught between ending one video game and getting the next to fill their ADHD prattled existences. Those kind of people who demand to be “wowed” at ever minute (hell every second) and are lead around by whims of fancy that never last for any real length of time as they are ever lead by golden carrots everywhere are regrettably far too many and too often lend their voices to obfuscate critical attention to those projects that offer real worth. Alas…
That aside, what strikes me about this record are the elements and harmonies that slowly build up and release then build up again; the traversing of a journey or the slow unfolding of a story arch that by the end leads to a shattering conclusion. This kind of epic story writing is in place with this record. Sure the first time I heard it was not riveted at every turn, or floored by the technically prowess or recording style. There were no blazing solos or complex overdubs of leads and counter leads like epic power metal but I very much appreciated each part as it developed; its transitions and melodies, its quiet folk parts and eruptions of blasting mayhem. By the end I was haunted by them still and various elements rushed back to me, not in a dazzling, blinding brilliance but as an emotional exegesis, as specter, or perhaps best described as ancestral memories flooding back to me. Returning home and the warm feel of the hearth, the pleasant murmur that one feels when returning to the forest, entering the canopy and the smell of the earth.
I mention the bands above because one can hear similarities to with this release, Gorgoroth’s Gorgoroth from Antichrist with its simple epic clean vocals and breaks mixed with kvlt black metal. One also can hear austere harmonies as those from Drudkh’s Autumn Aurora and Forgotten Legends, and of course Ulver’s Bergtatt. All roads lead back to Bergtatt and the Trilogy. These are very good references, but this project by the bass player of Odal should not be considered derivative by any means. It stands on its on feet proud, head held aloft. Perhaps on a solitary path, but others, kindred to this path should seek others, track this down and enjoy its majesty.
Original review at: http://metal-archives.com/
Black Metal, Germany
Full-length, Irminsul Records
February 12th, 2006
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Verhern - Verhern
“Don’t judge a book by its cover.” or “First impressions are everything.” Two expressions that contrast one another and two stereotypes that define the two differential sections of the metal world, when it comes to the fans, at least. Like policing systems, its hard for the average metal fan, particularly the black metal fan, not to work around some sort of offender profiling whereby the listener has these two contrasting methods of judging a band. One will assess the accessibility of the band by seeing how easy it is to find information about them, what sort of band ties that have, if there’s any associated bands that already blow our socks off, and all sorts of methods for working out whether or not a band is worthwhile listening it. Sometimes its easy to work on the basis on conjoining the two stereotypes, and this works in regards to Verhern, an obscure black metal band from the productive German territories. This three piece band seem traditional enough. No keyboardist, just two guitarists, one bassist and one percussionist. Of course, there is a clichéd rasping vocalist, too. The lack of information instantly addresses the listener with a traditional profile. Obscure, mystical and unhelpful in terms of providing any source of information surrounding the band. There isn’t even a band picture of the members. This is obscure.
Thankfully, I’ve dealt with bands like this before and I, myself, am beginning to build up an image of this band and what their sound is like. However, as the first expression tells us not to do - do not judge a book by its cover, despite the fact that often, first impressions are everything. Generally speaking, the latter expression applies more so to the instrumentation than it does the outside influences like the band members, associations with other bands and record labels and pictures, but to a lesser degree. The latter most certainly must be applied here to the instrumentation because, even though I was surprised by the content, it is, generally speaking, very productive. This self-titled piece begins precisely as I would have expected - whirlwind black metal based on the idea of forcing atmosphere on everything, including the listener. Although my attention was not fixated on the band at first, believing this to be just another obscure entity who’s sound is similar to that of 90% of the bands aiming to rejuvenate the old school in the modern day scene, I was wrong. This band has a lot of charm to them, despite the annoying habit of shrouding themselves in mystery. It would be nice, and perhaps useful for the listener to know who exactly operates within this band. Associated bands don’t really give us much of a hint as what to expect with only the drummer being present in other bands, most notably Purest, whom I have heard before.
The best comparison I can muster is with fellow German band Kargvint. In fact, their sounds are almost identical the more I think about it. This leads me to believe profiling works within music, too. For example, each scene, including the German scene, works around similar ideas unless we’re dealing with highly avant-gardé bands who seek to rid the scene of stereotypes. Let it be known, not all clichés are bad things. The fact that Germany has a black metal identity in the underground that is similar between many bands more so than not isn’t a negative reflection. Kargvint’s style of hypnotic haze can be likened to outside factors - think Velvet Cacoon for your most obvious, well known example. The style is primarily based around the guitars - which are usually the most important element of black metal soundscapes anyway, in a general sense. Of course, it can differentiate from the normal, formulaic standard, but it rarely does and when it does, people often cower away from the unknown, calling it inane instead of brave and courageous. Experimentation is acceptable within black metal, yes, but usually within a certain frame. Fans don’t generally want to hear power metal styled vocals in black metal bands, though that might be interesting to hear. They want the bass to affect the ground work more, or subtle elements to flow like a slow stream, somewhere high up in the mountain tops where no one can visibly take notice of it unless they specifically look for it.
The elements that can be called experimental need to be small enough to fit perfectly into the soundscapes without ruining the true essence of the band. Bands like Verhern, who’s self-titled debut does that, and Kargvint work around a national identity that allows them to sound similar, whilst fixating the listener on their own individual methods of subtle play. For example, the bass on this record is more visible than on the majority of Kargvint’s work, or even Velvet Cacoon’s work. Though the fuzzy mist of the distorted guitars still reigns supreme, these subtle elements that add menace to the musical interpretations are quintessential to the overall sound. Whether this is a method used by a band as well known as Velvet Cacoon, or as obscure as Verhern, its just as important. Take songs like ‘Ruinen Toter Existenz’ as the prime example of this. One guitarist generates the whirlwind affect that Kargvint supplement into their music, whilst the other plays a cleaner style alongside the slowly entrancing bass. This combinational style is classic, but you have to ask yourself why that is. Because it is so affective. This band, on the surface of things, sound like any other, but when you take them apart and evaluate their sections piece by piece, you will come to realise, like I did, that they’re accomplished musicians and capable of deceiving because of that fact. Do not judge this book by its over.
Original review at: http://metal-archives.com/
Black Metal, Germany
Full-length, Fimbul Prod./Eternity Rec.
August 8th, 2008
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3 de ago. de 2009
Aeternam - Disciples of the Unseen
There are some bands who have real skill and talent but still go by unknown. Aeternam is one of those bands. From the first song on this album, you can tell that the band is very skilled. The music in short is epic yet brutal and unlike some modern, so called 'symphonic' bands, they don't try to hide behind layers of programmed keyboard music.
The band is very skilled. The song-writing is really amazing and you can feel that from the intro itself. Most of the songs have some time signature changes and some catchy yet brilliant choruses, all which fits in precisely and perfectly. The guitars sound raw and brutal and the guitarists play some kick ass riffs. Most of the guitarring is fast and to the point. A few slow parts too which are well executed. The bass guitar is too under-produced, and is rendered inaudible. That was my main qualm with this album and due to which I deducted 5 points. The lead guitar work is mind-blowing too. It's not overly technical but it fits perfectly with the album's ambiance.
The drumming is brutal yet catchy. The drummer has some undeniably good talent. From the first few seconds, it becomes clear that the drumming is no joke on this album. The drumming for the most part is fast and on the uptempo side. Now about the keyboards, they are quite nice. They aren't over-used and neither do they bury other instruments like a lot of other modern bands. What the keyboard actually does on this album, is to add to the overall atmosphere in a vital manner. Without the keyboard, the album will sound different, in a bad way. The vocals are good too and quite versatile. Most of the album's vocal comprise of growls (similar to Amon Amarth). The rest of them are clean choruses which fit in perfectly well. The lyrical work is decent too.
The production on this album is nice though nothing to write home about. The bass guitar is buried in the mix which made me deduct some points. Though, in the end, this is a brilliant album. If you see it anywhere, be sure to pick it up. It is bound to impress anyone who likes metal in general. I really wish that this band gets some mass appreciation.
Original review at: http://metal-archives.com/
Symphonic/Folk Death Metal, Canada
Full-length, Self Released
2009
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Borgne - IV
Looking at the dark, misty forest that serves as a cover for Borgne’s fourth venture, then noticing that the album (and all of Borgne’s other albums) is numbered; one might be led to believe that IV is but a repeat of what oh-so-many other black metal bands have done in the past. And you know what? Whoever came into this review thinking this is completely right. BUT although bringing nothing new to the table, Borgne’s takes what has been left on the table and recreates it with the same amount of talent, depth and emotion as the great bands of the 90’s that created and pioneered the genre.
It will come as no surprise that the album starts off on the wrong foot with a boring, uninspired “ambient” track made-up of cheap wind sounds and other effects that are harder to identify. But after bringing our expectations all the way down, Borgne come right back with Sedna and shoots them back up.
Throughout the album, Bornyhake (the man behind the band) spews out intense, atmospheric music very reminiscent of the 90’s scene but adding a slight industrial touch to it. Now don’t come in here expecting techno breaks and psychedelic keyboards. Borgne’s uses this added touch with the furious guitar chords and battering drum beats to create atmospheres so dense you can almost see the fog appearing in your room. Everything is layered together so tightly as to not let any cracks appear in the wall of sound that is being sent your way.
In between the generic intro track and the generic closing track, the album is relentless. The guitars unleash a fury of heavily distorted chords and a small amount of tremolo picking that couples itself with unrelenting drums to create the basic heavy angry sound necessary for this style of music. The drums are often used to complement the guitars by slowing down/speeding up to change the atmosphere of a riff or adding some bass which can dramatically increase the intensity of a passage.
The keyboards are inserted right in the middle of the mix; neither buried under the mix nor taking the forefront. Their use is crucial to achieving the sound found on IV. The slow repetition of a section is great at accentuating the plodding rhythm found in the songs. Also the distant sound of the keys only increases the heavy atmospheres already created by the guitars.
The vocals are, for the most part, the basic angry shriek found in your average black metal but there are a few well placed low growls thrown in for effect. This style, although not in any way new or original, fits with the music and does work with the angry ambience of the album.
So although not bringing anything new, Borgne manages to revive the style of quality black metal that was lost somewhere near the end of the 90’s and adds hi own personal touch to it. This is a great listen for all those that find themselves dissatisfied with the modern scene and want a little blast from the past.
Original review at: http://www.sputnikmusic.com/
Black Metal, Switzerland
Full-length, Sepulchral Productions
March 31st, 2009
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