Skagos - Ást
Black Metal, Canada
Full-length, Eternal Warfare
March 30th, 2009
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26 de dez. de 2009
8 de dez. de 2009
Orlog - Elysion
Black Metal, Germany
Full-length, Det Germanske Folket
October 24th, 2008
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Endstille - Navigator
Black Metal, Germany
Full-length, Twilight-Vertrieb
August 1st, 2005
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Ruins (Aus) - Cauldron
This is the new Ruins album, nominally a Black Metal unit from Hobart Tasmania, who have paved a path for themselves that strays past the majority of the local BM underground. For this as well as the general uneasiness with which the Black and Death Metal scenes eye each other, I think their work has been panned by the Black Metallers, myself including. And whilst previous efforts had some moments of a questionable quality, which may have justified a dismissal, I must admit that listening to them now, I cannot wholeheartedly do so as that would be an unfair manner in which to treat on this artist’s, as a whole, compelling work.
Firstly, the Black Metal generalization is inaccurate. Undeniably, BM is the basis, but there are too many elements here that originate in jazz or rock to label this band purely a BM one and so misrepresent what they are trying to do here. Secondly the album sounds much more solid due to Ruins having finally located a formula for reconciling the showy drums and the weird guitars, with neither struggling for attention at the forefront and instead taking their own place in the mix.
There is an odd strumming/picking technique that is used in conjunction with some of the drifting song structuring on Cauldron, and I cannot say I have heard it elsewhere. It was present on previous works and whilst it immediately distinguished the band from contemporaries, I think at times it was overdone. This album employs just enough of it to make the songs sound strangely atmospheric with obscure structures propelling the pieces through climax to completion. There is also very pleasing use of downstroke guitar and linear (as opposed to syncopated) rhythmic patterns that remind me of Darkthrone and in conjunction with the groaned vocals – new Celtic Frost. In parts this is a very rocky album and will provide you with some headbanging pleasure when done live.
The lyrics still annoy me a bit. The style is sparse and allegorical, but this usually results in their meaning being too close to meaninglessness, although there is some interesting correlation of Egyptian and Sumerian mythology to the Bible as well as just stark poetic passages that contribute to the overall detached and gloomy atmosphere on this album.
I think that in terms of purism, this works shines not, but having forgotten about that and Celtic Frost, one can find a lot to enjoy here. I recommend it to fans of modern Black Metal.
Originally published in Procession of Black Doom zine #2
Black Metal, Australia
Full-length, Debemur Morti Productions
March 1st, 2008
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Trayjen - Walking Among the Stones of Fire
Surrealistic Black Metal, USA
Full-length, Flamme Noire
May 25th, 2008
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6 de dez. de 2009
Odal - Zornes Heimat
Pagan Black Metal, Germany
Full-length, Christhunt Productions
June 2008
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Steingrab - Reise ins Ungewisse
Atmospheric Black Metal, Germany
Full-length, Wolfsgrimm Rec.
July 25th, 2009
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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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