Malasangre - Inversus (Nothingness Record, 2005)

Malasangre are from Italy and they play a particularly grimy sludge / doom of sorts. The band's musical direction shares the same bleak well from which bands such as Electric Wizard, Methadrone and Drecksau spring from.

All musical elements seem to close in on the listener, leaving him no room for breath amidst this thick and imposing monolith of an album. The tempo is just a few notches above funereal, but still zealously flirting with funeral doom's austere tortoise paces. The album 'paints' a wide canopy of grey-scaled backgrounds upon which their mammoth compositions are laden, which invariably bear the raw and murky trademark sound of the genre's purveyors.

The first track, "Sons", could well be the musical essence of tragedy, as emanated by recent disasters such as 9/11; a news snippet of which is amended to the final moments of the track. From there on, "Werewolf / Echoes of the Past" takes over, strewn with a sentiment of a smoldering incessant enmity, creeping beneath this angst-ridden musicianship which perpetually urges to be heard; the allure of it (or the Tragedy perhaps) is that it never is. It's like the far-distant woes of a doomed race, crying in vain their wretched threnodies. A similar approach is followed by the third and final track, "Sharp Contemplation", which in addition is intermitted by more clean parts of sheer, dank ambience.

Evidently the album is not for the faint of heart; the dissonant and serpentine riffing distorted in consonance with the gargantuan bass sound allow no room for hackneyed sentimentalities exhibited by the more traditional doom outfits. It is essentially a very uncompromising album, standing aloof from other musical genres, bearing its own, personal musical imprint. Now exactly which kind of listeners will be gratified by this release is something indefinable; obviously the doom/sludge aficionados among us are already wetting their pants, but in my estimates the listening group should extend to a much wider circle.

(originally written for Chronicles of Chaos - 20/10/2005)

Animus Mortis - Atrabilis (Residues From Verb & Flesh) (Debemur Morti Productions, 2008)

 

If there is such a thing as a black metal index quantifying the quality output of any particular country, then Chile would probably be somewhere in the middle third of the world league. That said however, with this release we should expect this Latin American country to climb up a few notches on the aforementioned rankings. But for anyone acquainted with the band, Atrabilis (Residues From Verb & Flesh) won't fall on their ears like thunder in clear skies: its foundation was already laid with their previous demo's engaging synergy of genuine melancholically charged themes and the guitar's rich timbre. In terms of progression, they've essentially extrapolated their compositional style unto an early Enslaved-inspired maelstrom of drawn-out musical phrases draped over prominently animated percussion, and it is quite effective at the very least. The tonal undercurrent that propels the melodic progressions on display here is quite unvaried throughout the album's course that perforce reflects in its emotively constrained yet appealing moods.What makes the difference, however, is their relatively clean-cut production, which gives all instruments their equal share in a consonant and effective blend, although we could definitely do less with the pattering triggers that are used in an irritating abundance in almost every song on the album. Animus Mortis are actually one of the few bands that have come to my attention that maintain the fragile balance between instrumental technicalities and un-tiresome melodies with a distinctive flair. Therefore _Atrabilis_ delivers us not only with an abrasive punch of quality black metal, but also a promising sophomore to look forward to.

Contact: http://www.myspace.com/animusmortis  

(originally written for Chronicles of Chaos -  6/4/2008)

Eibon la Furies - Yours Truly... Eibon la Furies... From Hell (Ministry for Infernal Affairs, 2007)

You might be forgiven if, given their moniker and Victorian nods, you thought that this very EP is nothing more than a bland exercise in gothic romanticism. But alas, how gravely mistaken you would be! As a matter of fact, the only thing remotely gothic are the sporadically cropping operatic female vocals, which are far from your typical Cradle of Filth worship, and the fascination the band seems to have with Jack the Ripper. As far as atmosphere is concerned, well, the jury is still out on that one: think mid-late Dodheimsgardian black metal avantgardeisms colliding with vintage Arcturus-esque baroqueness in mid-air and collapsing unto a set of Victorian theatrics -- and then some. Its simplistic overall concept is a bit of a let-down and self-limiting though, which also bears on the lyrical side of the songs -- I mean there's not a lot you can say about their thematic protagonist (apart from speculations on his -purported- infernal origins and, well, the fact that he was quite pissed off with the female sex for some Oedipal reason) now is there?

Be that as it may, black metal here is definitely not of the conventional kind, and surprisingly, although seemingly pretentious at first sight, more than simply a catalytic medium for their intended aesthetics. The blistering guitar work, when combined with cello and keyboard swaths that mainly comprise the musical set-up of this offering, wove a wholesome contrapuntal texture that sets the music on strong foundations. The three instrumentals in addition also further the morbid aura of the EP in new artistic territory. What's even more delightfully promising is the effortless way in which songs swerve between dramatic cadence and harsh, musical excursions of majestic black metal with exhilarating unpredictability, hinting towards an unconstrained artistic temperament with a firm grasp on its art of choice -- but I wouldn't even dare compare them with the mighty Devil Doll just yet... Oh well *cough* I'm blabbering again so I might as well reserve my would-be accolades for what's yet to surely come from this intransigent yet pleasing outfit. Recommended.

Contact: http://www.eibonlafuries.co.uk/  

(originally written for Chronicles of Chaos - 11/3/2008)

Spearhead - Decrowning the Irenarch (Invictus Productions, 2007)

Decrowning the Irenarch - The Doctrine of Imperial Fidelity and the Supertemporal Divine Right of War; quite a mouthful, is it not? Yet behind its sententious title, this album grabs you from the proverbial balls early on and never lets go until it hits the finish mark. As far as steps forward are concerned, first thing that strikes is the production, which although not as Morrisound-ingly "greasy around the edges" as one might've expected, it's definitely of a professional calibre -- and what's more, it suits the band's sound quite nicely. Lyrically, they are concerned with the perpetual struggle of Man through what one might infer as an Evola-esque polemic directed against today's societal status quo of spiritual languidness and unmotivated mediocrity and our laughable state of modernity. (Incidentally, Irenarch is actually a Greek word from Irene (i.e. "peace") and Archon (i.e. "lord" or "ruler"), which roughly translates to peace keeper -- the more you know...). This neo-traditionalism in lyrical concept is reflected in their brutal, yet retro musical aesthetics. It harkens back to the period where death metal was, well... death metal: gritty, thrashy, hairy and with attitude. Forget groovy breakdowns, ridiculously down-tuned guitars and guttural vocals; this is straightforward, quality death metal spawned straight from the foul womb of early Morbid Angel, Sepultura and of course Angelcorpse. Solid basslines and imposingly energetic drumwork form a bolstering rhythmical framework that cohesively holds the band's formidable delivery together, and at the same time makes it noticeably much more focused and organised compared to the incipient, testosterone-fuelled efforts of otherwise adolescent forages into death metal territory.

Their bludgeoning mid-tempo pieces are quite redolent of Bolt Thrower, something practically unavoidable given their British heritage, yet their songwriting is decisively -not- a hackneyed pastiche of warmed-over cut-and-paste riffage. Instead, they prudently adhere to concise, to-the-fucking-point song structures, and fall back to high-octane blasting only where it's needed. All in all, _Decrowning the Irenarch_ is a middle finger raised against all who thought that death metal had lost its teeth to mindless plagiarising and br00tal drivel. You might've been forgiven if this pernicious little outfit escaped your radars up until now; but if you've missed this album, then you've quite probably missed out of one of death metal's finest hours for 2007.

Contact: http://www.spearhead.cjb.net

(originally written for Chronicles of Chaos - 25/2/2008)

Arkhon Infaustus - Orthodoxyn (Osmose Productions, 2007)

 

You can never be quite sure with this particular band. Their brand of Satanic devotion, although tongue-in-cheek at times, upon closer inspection becomes quite serious. It's exactly this kind of an "uh-oh" moment that awaits the uninitiated, who might've expected something of the usual LaVeyan-cum-occultish pastiche. It's not only the conviction of their purported mental backdrop that raises the alarm in such a case, but also the surprisingly diverse pool of inspirational sources that were drawn into their multifarious concept: from apocryphal and biblical scriptures, "Narcofili Sancti" to quantum physics, "La Particule de Dieu". Arkhon Infaustus' musicianship at first listen may sound shamelessly rehashed, but later on it becomes clear that this is more a matter of aesthetical eclecticism than anything else: the band's tenebrous vision is fearfully lucid; far too lucid to allow their compositional strategy to fall into tautological methodologies devoid of purpose. Abstract melodicism, use and -thoughtful- abuse of solid death metal formalisations (both in structure and rhythm) and the disquietingly dissonant vibe of their instrumentations are perhaps the things most indicative of the album’s befitting combination of style and form. Retrospectively, _Orthodoxyn_ is more approachable in a sense than _Hell's Injection_, yet paradoxically even more direct, more pensive, more self-realised.

Where influential black metal bands of yore might've adroitly perfected the skill of playing with the proverbial fire without getting burnt, Arkhon Infaustus here seem almost inseparable with their incandescent ideology, and most importantly it is in this most fascinating facet of their artistic authenticity that the band always retains its stature aloft of the rest. These French aren't here to institutionalise new genres, and they obviously know this much. They delve deeper without sounding too sententiously self-important or pretentious: _Orthodoxyn_ and any other _Orthodoxyn_ that may follow can only be an approximation, and it is only this much the band will or rather can allow; anything else is mere excess.

Contact: http://www.arkhon-infaustus.com/ 

 (originally written for Chronicles of Chaos - 16/2/2008)

Sacrilegious Impalement - Sacrilegious Impalement (Blasphemous Underground, 2007)

 

Well, there're no surprises here: cover adorning a rather vigorous individual intimidatingly yielding a long pike against a pitch-black background, and track titles hitting positive on three of the key flag-words, "Misanthropy" and "Darkness" (the remaining one being "Blasphemy"); definitely not something you'd casually listen to kick back when returning home from a long nine-hour shift at the office.Nevertheless, the Finns here are well read in their chosen arts. They effectively utilise their negative predispositions and funnel them musically in an attention-grabbing manner. Their sometimes prominent, sometimes subtle Nordic influences are transparently inoculated with both the melancholic melodicism and percussive quasi-punkness of fellow countrymates Sargeist and Baptism. And on top of that, they have an exquisitely filthy production to boot. So you might ask what's missing then, what's wrong? Nothing necessarily. It's just that although _Sacrilegious Impalement_ is a fine cut of orthodox, meat-and-potatoes Finnish black metal, as it stands it remains yet another undifferentiated permutation of the same exhausted aesthetic prototype; nothing too bad about it, yet nothing too impressive either.

Contact: sacrilegions@gmail.com


(originally written for Chronicles of Chaos -  3/2/2008)

Tenebrae in Perpetuum - Antico Misticismo (Debemur Morti, 2006)

 

Seemingly limited to a number of disenfranchised units, the Italian underground has found itself known only to sects of dedicated underground aficionados, synonymous with the likes of Mortuary Drape and Necromass, to name a few. Not aspiring to escape such a stealthy status, Italy's own Tenebrae in Perpetuum make a decent effort here in cranking out an hour's worth of stalwart black metal. Essentially, that's how far you can expect this album to go: not exactly breaking the mould, but a good listen to fill up those grim Sunday afternoons.Musically, they ascribe to the oft-plagiarized Norwegian / Swedish schools of pummeling, tremolo-driven momentum, while balancing on that fine line between sounding like a lackluster offshoot of their musical inspirers and being interestingly spiteful. Tempo variations are just enough to keep the album from morphing into a continuous stream of blasts, with glacial, mid-tempo, scaled down passages setting up an attention-grabbing launch pad for the real onslaught to subsequently take off.

Audibly an interesting slab of meat-and-potatoes black, _Antico Misticismo_ certainly doesn't come out as something genre transcending or generally eyebrow raising material. It seems however, that mostly because of the homogeneity of the genre due to excessive scene inbreeding, this has become almost something of an inevitability nowadays; and consequently, it is to their credit that TiP manage to remain faithful to their artistic roots and produce a record which is both sincere and convincing in its simple delivery. Nonetheless it remains one of those releases that whether you miss it this time round or not, won't necessarily upset your CD collection.

Contact: http://www.debemur-morti.com/distro/  

(originally written for Chronicles of Chaos - 7/4/2006)

Wraith of the Ropes - Ada (Total Rust Music, 2005)

 

To believe even for a moment that listening to this nigh one-hour long piece of glumness will be an otherwise gratifying experience, would be an exercise in naivety. How could you expect anything less than glum anyway, when one-half of this outfit is the man responsible for Torture Wheel's nightmarish realms? And naturally so, the first few keyboard notes herald what is to follow and leave no room for doubt: this is going to be a distressing listen indeed. Although musically placed under the funeral doom banner, Wraith of the Ropes employ a very personal approach which allows them to pervade their own musical imprint through their compositions. Writhing with the album's tortuous meandering sound, I found myself gradually descending into its seemingly never-ending downward spiral. The dragging distorted vocals laid upon cheerless, almost mechanized rhythms and slow, hypnotizing guitars accompanied by low-key keyboards weave a horrific imagery of self-desolation.

Nonetheless, although the permeating soporific atmosphere that WotR manage to transpire through Ada is indeed interesting, it leaves the album as a whole strikingly deficient in parting the listener with something to savor after it hits the finish mark. To illustrate this more clearly, it is like being taken through a dim and haunting journey only to find that the end is as obscure and dark as the beginning, allowing no sort of transgression to be achieved. A soundtrack to your worst nightmares? Perhaps so... However, I can't see this album enjoying many a spin on my CD player.

Contact: http://listen.to/wotr/

(originally written for Chronicles of Chaos - 28/11/2005)

Remembrance - Frail Visions (Totalrust Music, 2005)

 

Funeral doom has always been a musical field where the sentiment essentially supercedes everything else, staying far from lackluster technical complexities. As such, its offerings can be of a very sentimentally expressive nature, infused with an intense amount of captivating emotions without them sounding excessive or overly bombastic -- and so is the case with Frail Visions, a delightfully mesmerizing album imbued with a grey-hued tapestry of aural sensations. Remembrance's flavor of funeral doom harkens back to Skepticism's thick and imposing imagery of their early catalogue and to Shape of Despair's dismal orchestral apparitions. Its production is well-rounded and full, transpiring a fervent and complete sound. The beautiful instrumentations of each song are embellished by somber symphonic keyboards, intensifying the whole sensuous effect whilst revolving around a brooding rhythmical framework. The package is completed with Matthieu's brutal vocals, intermitted at times by cleaner passages of both his and Carline's ethereal vocal presence.

I always find it hard to escape from such enchanting soundscapes like the ones this French twosome is masterfully crafting, since they attain quite an addictive and commanding presence. As a whole, the album could well prove to be a tour de force piece of funeral doom, but nevertheless only within its own explicit musical niche.

Contact: http://www.remembrance-band.com  

(originally written for Chronicles of Chaos - 21/11/2005)

Soulless / Exsecrator - Inheritance of the Wicked Empire (Eyes of the Dead Productions, 2005)

 

This split is like a well-wrapped gift in the shape of a football: the packaging is attractive, but you know exactly what you're going to get. This is mostly the case with this interesting release; from the first strummed chords, the music follows its predictably set path with the drummers from both bands assuming the role of a pneumatic drill and contentedly blasting away. The split comprises of two individual releases: Exsecrator's demo Vehemence of Human Displeasure and Soulless' EP Peri Psyches. From the two, the Italian Exsecrator seems to be the most promising. Although suffering from a murky production, their three tracks show a slightly more capable outcome than their Polish counterparts. The songs in question utilize a good amount of mid-tempo, chugging Incantation-esque parts and faster blast attacks along with truly cloacal vocals, leaving a satisfying aftertaste when they hit the finish mark. With a little more work on the drums so as to make them more innovative and less of a background haze of beats, this could well stand out as a coherent and focused slab of brutal death metal without falling into the trap of being monotonous and stale.

Soulless, on the other hand, although satisfactory production-wise, seem to be on a testosterone-fuelled frenzy. There are parts where the music comes out as a mish-mash of riffs, meshed together with unneeded guitar blabbering, becoming tedious and tiring to the ear. Thankfully this does not make for the majority of this side of the musical dish, but nonetheless it does inhibit the band's overall stature. Malevolent Creation have the lion's share in terms of musical influences, with the Floridian legend having its say on the blasting, thrashy parts many a time. Behemoth's illustrious riff-fuelled aggression also peaks its nose during the band's better moments.

So the split, as transpired, will find its place among its dedicated fan-base; the rest have already gone off to the next review by now.

Contact: http://eyesofthedead.cjb.net

(originally written for Chronicles of Chaos - 21/11/2005)

Eschaton - Causa Fortior (Nykta, 2006)

 

There was always something that emanated from that infamous split with Burial Hordes that promised of a really good offering from this outfit and it seems that that certain quality has found a pleasantly welcome fruition on "Causa Fortior ". Eschaton hail from Greece and after a demo and the aforementioned split have finally come forth with their first full-length on Nykta productions. What you should normally expect with this album is harsh yet rather melodious black metal enveloped by an emotively captivating aura alluding to early Gorgoroth and Darkthrone. Interwoven with the music’s acerbic delivery are melodic nods towards their Greek counterparts Naer Mataron and even Twilight (not to be confused with the American all-star assemblage) since a number of riffs seem to be taken right off their textbook. Unto the music itself now where naturally (as one might’ve expected), effectively simple power-chord driven passages propel the momentum on fast-paced rhythms accompanied by melodic riffs, which are in abundance on the album. The riffs here are actually quite a strong point and are appropriately placed within songs that segue smoothly into each other. Song structures are generally straightforward, effectively setting up the foundation for the not yet forgotten formula of build-up-and-release as put forth by the mighty Gorgoroth-era Pentagram. It is a pity though that that wintry atmosphere they’re otherwise successfully attaining is hindered by a somewhat weak production which if it’d been better it would definitely add to the overall quality of the album. Nonetheless, a fine and high-ranking debut effort by the fledgling Greeksters definitely worth checking out.

(originally written for Tartarean Desire - mid-late August 2006)

Naer Mataron - Discipline Manifesto (Black Lotus Records, 2005)

 

Naer Mataron have always been among the elite of Greek black metal. Since their inception, back in 1994, the band has always been in constant evolvement, straying far from their first _Up From the Ashes_ album, which drew heavily from the typical Hellenic sound, to their monumental _Skotos Aenaon_ and from there on to the more technical and innovative North-isms of their latest opus. _Discipline Manifesto_ is what you might call the fruition of all their hard work, where they manage to coalesce a number of musical influences -- although limited, I have to say -- into a devastating powerhouse of hate-reeking music.

The music as such can be described as having a firm grounding on the Burzum / Darkthrone diptych from which it branches into various other black metal 'schools', from Hellenic mid-tempo riffing to the faster and harsher Swedish approach of Marduk and Thy Primordial fame. The Greeks score highly on the guitar work factor; I have to say that the finishing riffs that Morpheas cranks up on some of the tracks are among the best I have heard coming from a black metal album. "The Day Is Breaking" is such an example, where the song initially paces on mid-tempo rhythms, then gathering up gradually on faster and faster passages before the momentum escalates on the final riff-driven segment, and what a riff that is! I still find myself humming that part over and over again. "Last Man Against Time" also cranks up its own good share of sweeping riffing which could have easily sprouted from Darkthrone's better days when injected with a good amount of black metal-ala-Sweden serum.

The album also boasts some highly acclaimed guest appearances, namely Apollyon of Aura Noir, Vicotnik (who also took part in the record's mastering process) and Carl Michael Eide, the two latter being part of Ved Buens Ende. All technical aspects aside, this album finds itself seethed in emotion, yes indeed emotion! Avoiding the stagnant 'tr00' stances of nowadays' majority of black metal bands, their music rampages relentlessly like an overwhelming barrage of ravenous rage, never stopping for rest. A burning furnace of an album which not only stands tall in the Greek scene but is also quite capable of blowing a breathful of amber hate-filled smog into the ever-needing lungs of European black metal.

Contact: http://www.naermataron.com

(originally written for Chronicles of Chaos 7/11/2005)

TenHornedBeast - Woe to You O Earth and Sea (Nothingness Records, 2005)

 

What with the recent Sunn O))) outbreak or the generally intriguing (yet simple) musical approach, drone has lately found itself enjoying a flurry of underground bands carrying that certain 'amplifier abuse' style. TenHornedBeast is a one-man band hailing from the North-East flanks of England. The man behind the beast is Christopher Walton, who also takes part in Endvra, a dark ambient / drone project stylistically akin to his current musical endeavors. 

The constituent elements of this particular band's sound are simple: thick, morose chord progressions often interweaved with an excess amount of distorted guitar feedback which, more often than not, stray far from any sort of translucent song structures. Welcome to a musical world of sheer resonance. While the unaided listener might interpret the whole album as simply a means to test one's amplifier endurance, it is still, for the initiated, an audial ritual of eerie ambience and imposing soundscapes. TenHornedBeast in reality are testing our auditory resilience here, but in an interesting and yet uncomplicated manner.

The six songs present on this album soothingly fade into each other; playfully dawdling on heavily distorted, minimalistic and strenuously slow guitar passages which then segue into brooding ambience and vice versa. Rhythm retreats into subtlety; it simply doesn't belong here. They are essentially aiming for a certain sensory transparency, where the music itself simply becomes a vector for the listener to reach a, let's say, more elevated spiritual level. One could arguably say that drone provides a limited spectrum for experimentation, but nonetheless TenHornedBeast are perhaps one of the few bands proudly standing on the drone precipice before banality inevitably befalls the genre.

  (originally written for Chronicles of Chaos - 24/10/2005)

Worship - Last CD Before Doomsday (Weird Truth Productions, 2004)

 

_LCBD_ is actually a re-release by Weird Truth Records of Worship's famed debut demo tape released back in 1999. The first pressing of this album, released a near two years ago, was limited to 500 copies. There was also a vinyl re-issue, aptly named _Last vinyl before doomsday_, released in 2002 by Painiac records.

Worship is a rare breed: slow, crushing, sombre. Why would anyone play like this? Indeed, the emotional predisposition that one may possess in order to express himself through such an angst-ridden outlet must be a languishing mental state at the very least. Such is Worship's "Last CD before doomsday"; a requiem of pain and anguish slowly unravelling itself in smothering shades of grey and musical themes of utter hopelessness, in other words a quality piece of despodent funeral doom. An exiguity of chord changes that drag themselves on painfully slow rhythms is what predominately characterises the music per se while growls, whispers, shrieks and the occasional depressing keyboards penetrate this omnipresent veil of languid down-tuned guitar riffage.

What is clearly emanated and felt at a deeper level is that fear of surrendering the soul into endless void, the apprehension of witnessing nothingness, the tragedy of contemplation; it’s quite engaging how such minimalist musicianship can convey such bleak yet deeply ingrained emotions. After a while of absorbed listening, all we are left with is just the listener and this macabre dance of notes, assimilated through the senses in all their essence. With all musical elements taken en bloc, this is nothing more than a glorification of self-denial and like in all acts of worship there is indeed a sacrifice that takes place here; a sacrifice of anything life-affirming.

And again, why would anyone want to play like this? No, the duo behind this offering isn’t playing by choice but by necessity. A need, a spiritual yearning for release if you will, that is almost intuitively evident after a careful listen of this blackened piece of music.

“Abandon all hope, ye who enter here”…and let your mind sink in Worship’s formidable abyss.

(originally written for Tartarean Desire - 26/8/2006)

_LCBD_ is actually a re-release by Weird Truth Records of Worship's famed debut demo tape released back in 1999. The first pressing of this album, released a near two years ago, was limited to 500 copies. There was also a vinyl re-issue, aptly named _Last vinyl before doomsday_, released in 2002 by Painiac records. Worship is a rare breed: slow, crushing, sombre. Why would anyone play like this? Indeed, the emotional predisposition that one may possess in order to express himself through such an angst-ridden outlet must be a languishing mental state at the very least. Such is Worship's "Last CD before doomsday"; a requiem of pain and anguish slowly unravelling itself in smothering shades of grey and musical themes of utter hopelessness, in other words a quality piece of despodent funeral doom. An exiguity of chord changes that drag themselves on painfully slow rhythms is what predominately characterises the music per se while growls, whispers, shrieks and the occasional depressing keyboards penetrate this omnipresent veil of languid down-tuned guitar riffage.
What is clearly emanated and felt at a deeper level is that fear of surrendering the soul into endless void, the apprehension of witnessing nothingness, the tragedy of contemplation; it’s quite engaging how such minimalist musicianship can convey such bleak yet deeply ingrained emotions. After a while of absorbed listening, all we are left with is just the listener and this macabre dance of notes, assimilated through the senses in all their essence. With all musical elements taken en bloc, this is nothing more than a glorification of self-denial and like in all acts of worship there is indeed a sacrifice that takes place here; a sacrifice of anything life-affirming.
And again, why would anyone want to play like this? No, the duo behind this offering isn’t playing by choice but by necessity. A need, a spiritual yearning for release if you will, that is almost intuitively evident after a careful listen of this blackened piece of music.
“Abandon all hope, ye who enter here”…and let your mind sink in Worship’s formidable abyss.
- See more at: http://www.tartareandesire.com/reviews/Worship/Last_CD_Before_Doomsday/3533/#sthash.z1s6xrmH.dpuf

Kawir - Ophiolatreia (Those Opposed Records, 2008)

 

In a period where archetypal bands of the Hellenic sound have long since fallen astray or into a state of quietude who else is left than Kawir to hoist the banner? (Note: Yes, Rotting Christ keep on delivering quality albums for almost two decades now but their Thy Mighty Contract/Non Serviam days are long gone....) For most Hellenic black metal aficionados introductions are redundant, for the un-initiated Kawir are a black metal band hailing from the land of Aristotle, Plato and some guy whose 300-strong pack of soldiers apparently caused a lot of stir with the Persians back in the day. Forming back in the early 90's, they have tenaciously adhered to the same aesthetic core pretty much since their Eumenides EP. With minor mishaps sporadically surfacing in previous offerings aside (mainly tepid vocals, weak production) the band retained its identity untarnished and solidly planted in the Hellenic fold faithfully revolving around the Grecian axis of Varathron-esque romanticism. Following on that tradition and given its present-day context, it's a noteworthy fact that Ophiolatreia does not carry the apparent inferiority complex that masticates contemporary offerings with their minimalist/4-channel production obsession. Indeed, the album is completely devoid of any sort of Northern infatuations both in its production and particularly in its riffage and yet it manages to sound uniquely 'black metal.' Considering the onslaught of Fenriz-clones that riddle the scene today this in itself is quite an achievement - and a welcomingly refreshing one at that.

The compositional effectiveness of this album is primarily achieved because the band is both prudent and knowledgeable with different aspects of their music: their keyboard swaths are used only where accentuation is appropriate and their song structures don't draw for more than they have to. And of course engaging melodies and pounding mid-tempo driven themes of unmistakable 'Greekness' couldn't be absent either. Take for example "Poseidon:" it starts off with an evocative flute-lead intro that gives way to a guitar-laden passage following on the incipient melody; it then consequently builds up steadily and convincingly in tempo and mood before escalating unto its arm-wavingly delightful chorus without resorting to blast-beat excesses. This relatively simple compositional formula with a few minor fluctuations is essentially the backbone that constitutes most of the songs on this album and it successfully keeps the interest levels high throughout. To that effect, their sound is bolstered with probably one of their best productions yet. Be forewarned though: all lyrics are both written and sung in Greek since they deal primarily as always with the lasting ethos of Ancient Greece.

So who might've thought then? While onlookers were desperately expecting a resurrection from Varathron or Necromantia to re-invigorate their hopes in their beloved sub-genre of traditional Hellenic black metal it turns out it's none other than these Athenian robe-clad serpent-worshippers who will finally deliver the goods.

Album comes in a tasteful digipack and is available through Those Opposed Records (http://www.those-opposed-recs.fr.nf/).

(originally written for Tartarean Desire - 29/1/2008)

Dictator - The Pain Sessions (Self-financed, 2006)

 

This demo, for the most part, would have us believe that it belongs to that certain group of releases which manage, through a rather monotonous and yet enamoring manner to convey a deep sensation of glum-filled musicality, but if only things were that simple. It is essentially a morbidly satisfying piece of despair-ridden, funereal black/doom besmeared with touches of crawling, gloomy orchestrations. Indeed, "The Pain Sessions" may be regarded as a forgotten segment from a forlorn tragedy, a discontented cry echoing through the darkened serpentines of the mind's deserted realms but nonetheless it is a subjective sensation only discernible to a patient few. This one-manned outfit incorporates choirs, succinct musical structures and is generally characterized by a permeating sense of minimalist moroseness yet letting only an inchoate sense of what is to follow to emerge. Nevertheless, this is not by any means a work of unparalleled originality; on the contrary the likes of this demo have been heard many a time on Nortt’s or even Catacombs’ pernicious output. But still, its entrancing and bleak nature can sometimes be engulfing and inescapable. In summation, Dictator has built an appealing funereal template for himself on “The Pain Sessions”, from which we can expect a no less than interesting climax of doom-induced despondency in the future.

(originally written for Tartarean Desire - 10/4/2006)

Ethereal Blue - Black Heart Process (Deadsun Records, 2005)

 

There's nothing quite more satisfying than that certain feeling of serendipity one gets, when discovering a new gem from an otherwise unknown band. Well to be honest here, their quality as a band was beckoned by the accolades their first demo had received so I wasn’t so surprised. Evidently, the Greek underground is strewn with amazingly talented bands which exhibit a captivating amount of creativity through a variety of genres. Ethereal Blue paint a mesmerizing landscape of beautiful, intriguing melodies interweaved with ever-unfolding and capturing symphonic orchestrations which never seem to halt for a respite. This is by far one of the most addictive albums I have had the pleasure of listening to this year. Although tentatively described by the official press release as ‘atmospheric death metal’, the tag doesn’t quite make the band justice here, since their music impinges on a plethora of other musical slants as well. Gothic atmospheric segments to more exhilarating, up-tempo passages with a tinge of melodic black-isms hinting towards their fellow country men, Elysian Fields; they all whirl together in a fine conglomerate of musical bliss. Clean and brutal, raspy vocals alternate with each other in consonance.

What makes this album stand out from the crowd, apart from its distinctive instrumentations, is essentially that sensual and emotional contentment that each song conveys. Of note are also the finely placed symphonic orchestrations, which never seem to lumber on the music but rather enhance it. Nonetheless the production (an everlasting burden that Greek bands seem to carry) is satisfactory but of course there is room for improvement. The band has certainly constructed a strong grounding on which they can build on, leaving hints to their future development as well. Ignore the meagre cover or the hardly distinct fonts on the layout as this is certainly a package which hides so much more underneith its wrapping.

(originally written for Tartarean Desire - October 2005)

Filii Nigrantium Infernalium - Fellatrix Discordia Pantokrator (Pro-Con Media, 2005)

 

Yet another recent up-rise from the black metal underground that caught me a little unaware. The Portuguese Filii Nigrantium Infernalium have at last released their first album after 14 years of itching and scratching in the Lisboan underground and truth be told, whenever you gaze upon a cover sporting a goatlike humanoid figure bearing an aloof, discontenting stance there's no doubt as to what may lay within. Indeed, ‘Fellatrix Discordia Pantokrator’ is black metal perhaps not at its finest but definitely at its most raw and abrasive. An audial riffing onslaught threaded with thrashing rhythms and ripping solo-ing harkening back to Venom and the great three of Teutonic thrash. The man behind the mic (vocalist/guitarist BTHZR) does a good job imitating the painful throes of a dying animal (think Bethlehem era-Dictius Te Necare or some early Deinonychus, minus the insane outspurts of the former) which gladly don’t fall short in galvanizing the album’s already nut-gripping sound. This is not a monolithic affair however; ‘Fellatrix Discordia Pantokrator’ wavers between all-out, riff-fueled thrust (Morte Geométrica, A Forca de Deus) and mid-paced, controlled passages which subtly flirt with melodic overtones (Bordel no Éden, Cães de Guerra). An interesting retro deluge of the legacy the 80’s left us and a welcome shot of black/thrash adrenaline done the good ol' way nonetheless. Now where did I put those darn Venom cds? 

(originally written for Tartarean Desire - 2005)

Yet another recent up-rise from the black metal underground that caught me a little unaware. The Portuguese Filii Nigrantium Infernalium have at last released their first album after 14 years of itching and scratching in the Lisboan underground and truth be told, whenever you gaze upon a cover sporting a goatlike humanoid figure bearing an aloof, discontenting stance there's no doubt as to what may lay within. Indeed, ‘Fellatrix Discordia Pantokrator’ is black metal perhaps not at its finest but definitely at its most raw and abrasive. An audial riffing onslaught threaded with thrashing rhythms and ripping solo-ing harkening back to Venom and the great three of Teutonic thrash. The man behind the mic (vocalist/guitarist BTHZR) does a good job imitating the painful throes of a dying animal (think Bethlehem era-Dictius Te Necare or some early Deinonychus, minus the insane outspurts of the former) which gladly don’t fall short in galvanizing the album’s already nut-gripping sound. This is not a monolithic affair however; ‘Fellatrix Discordia Pantokrator’ wavers between all-out, riff-fueled thrust (Morte Geométrica, A Forca de Deus) and mid-paced, controlled passages which subtly flirt with melodic overtones (Bordel no Éden, Cães de Guerra). An interesting retro deluge of the legacy the 80’s left us and a welcome shot of black/thrash adrenaline done the good ol' way nonetheless. Now where did I put those darn Venom cds? - See more at: http://www.tartareandesire.com/reviews/Filii_Nigrantium_Infernalium/Fellatrix_Discordia_Pantokrator/3013/#sthash.9d9qmvFz.dpuf

Massemord - 12 Years Of Mass Murders (Perish In Light, 2005)

 

“12 Years of Mass Murders” is actually a compilation album from the Norwegian Massemord, comprising of 13 tracks of “run of the mill” black metal with a few sparse and catchy heavy/hard rock overtones. Although the tracks are chronologically disparate (ranging from early 1994 to 2004) the unaided ear will fail to see any sort of compositional development between early and recent songs albeit the fact that there is a certain degree of musical variation. The majority of the tracks here fail to break away from the overall mediocre stature, compositions swerving between tastelessly unconvincing and satisfactory. There are a number of good moments though on this album, namely “Last days of snow” and “Den Svarte Skogen” which get my vote as far as ‘catchiness’ and overall song structure are concerned. Especially the latter stands out from the stale approach the rest of the album is incorporating, transcending the senses to past memories of old. From this album one can get the impression that although Massemord are aware of the artistic equation of black metal, that Immortal and Darkthone once put worth, they fall short in balancing it out. In other words although satisfactorily adept in some areas, they are unsuccessful in others leaving a monolithic and impassive result which most importantly lacks character. What really spoils the broth on this album though are the final two tracks (before the outro) which move on an Industrial bombastic combination of electronic/experimental synths and guitars which are completely devoid of any sort of black metal edge; I thought -- as advertised -- this was supposed to be black metal first and foremost. For the ones who are being acquainted to the band for the first time I suggest they browse through their early catalog instead.

(originally written for Tartarean Desire - 2005)

Paimon - Metamorphine (Elysian Records, 2005)

 

Starting out as an intended Black Metal outfit back in the winter of 1997 this German band has evolved to become anything but that. During their course for existence up to “Metamorphine” they have released two demos and one album (“Terram oblivionis” released on MOS records back in 2001) being characterized back then by the media from melodic black to even Pagan metal. The strife for identity was to no avail though until “Metamorphine” where the band finally seems to settle as for the musical direction to take. Their sophomore release sees them throwing different elements from piano interludes to Russian folk into the Paimon cauldron with the resulting product being more or less Gothenburg induced death metal. Although not necessarily reinventing the wheel here, Paimon provide us with a good 45 minutes of melodic death wavering between mid and fast tempo passages whilst carrying that melodic edge in their songs. Boasting a dual guitar attack, Paimon don’t fall short as far as song structure and complexity are concerned. Songs exhibit a good fluidity throughout and the album as a whole presents a well-organised and fervent outcome. The production clear and impeccable is reminiscent of Dark Tranquility and In Flames fame. Acoustic guitars make their presence known at various parts of the album incorporating that distinct Folk element which becomes even more conspicuous on “Millenial Trouble” and the two instrumental tracks. So for all of you Gothenburg fetishists out there this could be a good time-filler until the next In Flames album comes out.

(originally written for Tartarean Desire - Summer 2005)

The Belonging - Setting The Scene (Self-financed, 2005)

 

‘Setting the scene’ is a pretty bold statement coming from a band’s debut release (well any release for that matter) but putting all light-hearted criticisms aside this is in fact a noteworthy effort and does manage to raise an eyebrow or two a couple of times in the process. Swirling into existence back in 1998, this Bradford-risen melodic black/death outfit managed to release a number of demos creating a respectable fan base in the local underground. Being unfamiliar with their early demos I can’t help but wonder what their early efforts sounded like taking into account the diversity and wide ranged musical canopy that the album has on display here. From harmonious doom-laden passages to black metal melodic compositions and from there to all out blasting death metal brutality, the band leaves no extreme metal area unbreached whilst at the same time not being tiring to the ear. Take for example ‘Black Sun Rising’; a song of which pounding drum driven chugging riffs could’ve easily sprouted from the early 90’s Florida death metal scene and then mentally align it with the overly melodic ‘Dreaming Darkness’ (album’s highlight) which moves within a slower, doom metal framework but never losing in energy. So obviously song congruency is not something to be found here but that does not necessarily imply a lack in consistency. On the contrary all songs are in a fluid continuation with each other preventing the initial interest from being watered down throughout the album’s time span. Production being unfortunately the major drawback on the album is weak and not quite as clear; drums sound buried at times and the vocals seem to suffer as well. Vocals cover a wide spectrum moving from outspoken clear passages to brutal death grunts according to the album’s fluctuating moods. Whether they were testing the waters or not with this release, it does leave their future sophomore effort something to be anticipated for.

(originally written for Tartarean Desire - August 2005)

Skotos - Skotos (Self-financed, 2005)

 

It really is saddening when extensive technological use pulverizes all feeling and innovation within an otherwise interesting musical offering. In Skotos’s case although there is a number of good ideas in their self-titled demo, the completely offhand and life-less drum machine sucks out all life from their sound. Tempo changes are utterly erratic while the entire drum work sounds out of sync at many a time. I’m not really against the use of drum machines but they do require work and a fair amount of experience to make them sound natural and not completely offbeat. The overall riffage on the demo does not salvage the whole effort since although there are some interesting passages, riffs move on mostly repetitive and simplistic patterns throughout the four musical tracks. Lyrics are written and sung in Greek which is pretty rare (on the fly now only Kawir come to my memory that have extensively used a similar approach). It is a pity though since like I said before there are some good ideas but unfortunately too well hidden.

(originally written for Tartarean Desire - Summer 2005)

Hour Of Penance - Pageantry For Martyrs (Xtreem Music, 2005)

 

It seems like the Italian underground has yet another band to offer to the death metal scene from its stout abode. ‘Hour of Penance’ were formed in 1999 with their first demo release seeing the light of day a year later. ‘Pageantry for Martyrs’ is the band’s sophomore release, two years after their debut ‘Disturbance,’ and still unavoidably derivative in nature. Amidst the throbbing palm-muted guitar passages and the pummeling drums that do well in convincing us of the band’s stature, this welcome slab of brutality smells of US death metal from a mile away. Sporting relentless time changes, tight drum fills, absolutely cloacal vocals and yes even some of Cannibal Corpse’s swirling riffage (“Far Beyond Humiliation” just reeks of the Corpse’s roll and churn), ‘Pageantry for Martyrs’ is pretty much textbook brutal death metal, meandering somewhere between Decrepit Birth and Disgorge minus the technical over-indulgences of the former; even Nile seem to have their say, especially on ‘End of relief’s mid-tempo chug. An invigorating upshoot on the death metal life-line of recent years and yet an album that still won’t do much for someone whose brutal US death metal isn’t the order of the day. It does make one think whether brutal death metal is on the wane or indeed enjoying a resurgence as of late, seeing that there are a number of bands that are still stubbornly blasting away like there’s no tomorrow. Oh and watch out for a hidden small song near the end of the final track; looks like these guys love their Hentai… 

(originally written for Tartarean Desire - early 2006)

Dawn Of Division - Awaiting The Dawn (Graveyard 666 Records, 2005)

 

Second demo from Orestis (the sole driving force behind Dawn of Division) sees the band once again zealously flirting with the majestic aesthetic of early Norwegian acts such as early Emperor and Satyricon. The demo comprises of only two actual songs (tracks 2 and 4) with the rest of the five being the intro, an instrumental and the outro providing a limited grounding for one to establish accurately the band’s musical direction as a whole. After the soothing and atmospheric keyboard intro, ‘Bride of winter’ kicks in with the song being initially driven by mid-tempo paces dangerously reminiscent of Burzum and then increases in speed and harshness reminding more of Emperor’s early releases. Both songs exhibit a fervent and satisfying outcome with a number of interesting ideas spread throughout successfully capturing that bitter and bleak feeling of the good ol’ and grim days. There are also some noticeable similarities to their country mates Nocternity as well especially at their faster, symphonic parts. All in all a good effort by Dawn of Division which are slowly but steadily climbing on the black metal ranks. 

(originally written for Tartarean Desire - summer 2005)

Second demo from Orestis (the sole driving force behind Dawn of Division) sees the band once again zealously flirting with the majestic aesthetic of early Norwegian acts such as early Emperor and Satyricon. The demo comprises of only two actual songs (tracks 2 and 4) with the rest of the five being the intro, an instrumental and the outro providing a limited grounding for one to establish accurately the band’s musical direction as a whole. After the soothing and atmospheric keyboard intro, ‘Bride of winter’ kicks in with the song being initially driven by mid-tempo paces dangerously reminiscent of Burzum and then increases in speed and harshness reminding more of Emperor’s early releases. Both songs exhibit a fervent and satisfying outcome with a number of interesting ideas spread throughout successfully capturing that bitter and bleak feeling of the good ol’ and grim days. There are also some noticeable similarities to their country mates Nocternity as well especially at their faster, symphonic parts. All in all a good effort by Dawn of Division which are slowly but steadily climbing on the black metal ranks. - See more at: http://www.tartareandesire.com/reviews/Dawn_Of_Division/Awaiting_The_Dawn/2790/#sthash.iXDCc3FH.dpuf

Spectral Lore - I (self-released, 2006)

It seems that monsieur Malefic has reached many a blackened soul with his distorted, heavily melancholic take on the black metal aesthetic. Spectral Lore's covert sole member has delved deep into the mind's most darkened areas and rose up with this delectable piece of eerie black metal. The emergent nebular atmosphere of the demo is only something to be found in the genre's most sincere output of late, namely Leviathan, Nachtmystium and Velvet Cacoon amongst others. Strangely for a black metal release, the demo's stripped-to-bare-essentials approach is non-tiring, thankfully eschewing extravagant crescendos and oft-used mind-numbing blasts. What with its droning, minimalist passages which segue into claustrophobic ambience or its delightfully Xasthur-esque compositions, the music carries the audial sensorium through a blackened, serpentine journey until the cathartic, post-rockish "The Cleansing Rain / Morningrise in the Eternal Fields" comes to assuage any exacerbated wounds. Finally, the demo embarks unto its interesting synth-based epilogue thus ending its satisfying near 50 minute duration. Minus the occasional hang-up, such as the out-of-synch vocals / whispers at times or the prolonged ambient passages, it can become quite a "grower" for the initiated and not only.

Contact: lycaon_ayr@yahoo.gr  

(originally written for Chronicles of Chaos - 22/3/2006)

Ahriman - Ködkín Ösvény-Mistpain Path (Terranis Productions, 2005)

 

Hailing from the forests of Hungary, Ahiman strike with their second album after ten years of existence. Starting out as a one man band back in 1995 and after numerous line-up changes, Ahriman managed to release their sophomore record in 2001 titled "Naturgate" released by Nephilim Records attaining somewhat of a cult status in their home land. Their latest bilingually titled release "Ko"dki'n o"sve'ny/Mistpain path" was released in February 2005 through Terranis Productions.

What we have here with "Mistain path" is seven tracks of well played symphonic black metal with folk influences in the veins of Dimmu Borgir, Graveworm and perhaps Elysian Fields at their more symphonic moments. Album kicks in with a ritualistic intro comprising of folk instruments which the album makes extensive use of throughout the record adding to their special blend of symphonic black metal. After the ritualistic intro fades into a keyboard solo atlast the band blasts through with keyboard synths interweaving effectively with the Emperoresque riff-fueled musical mayem. After a few listens I noticed that although the album starts with a lot of promises it seems that its initial aggression gives way to repetition as it progresses. This is partly due to the continuous fast tempo with no "catch for breath " so to speak giving rise to a more monolithic result living a more "watered down" aftertaste after the record has finished.

Throughout the record one can notice several references to Dimmu Borgir's early material (Stormblast) and even to Satyricon era Nemesis Divina. To the plus side production and musicianship are far from mediocre indicating a professional standing from the band's part. I also have to mention the layout which overall was very well done and projects that sense of mysteriousness. Most lyrics are in English although all the track titles are both in English and Hungarian. All in all a good slab of symphonic black metal from the Huns but unfortunately not enough to salvage Hungary's state of obscurity in the extreme metal scene.

(originally written for Tartarean Desire - 28/6/2005)

Underjordiska - Dystert Vilse (Cuckold Productions, 2008)

 

It'd take a band as audacious as Underjordiska to show us just how many levels of abstraction black metal has to be percolated through before it loses its fundamental quiddity. Yet from the active artist's perspective, it would be detrimental to impose any sort of compositional framework on his or her work, and this is exactly the album's main strength -- other than being an experiment in form, its music might lack a utilitarian purpose but it seethes with emotional honesty.Underjordiska comes to us from the far end of the purist spectrum, where any sort of convoluted instrumentation equals the dilution of essence. Taking this stance to its extremes, Underjordiska has extrapolated the inherent structural minimalism of its stylistic bedrock with an almost mephistophelian familiarity of the genre's rooting. As the percussion goes strangely unmissed, there's only that much dynamicism herein to maintain a sense of order and any perceptible rhythm is more likely a psychological imposition from the mind's part to sift through this audial throbbing of painful shrieks and buzzing guitars.
The contorted schemas of the compositions often fall prey to the menacing and deliberate atonality of the warped guitar work that effectively ensures that the album retains its unsettling qualities. Song thematics are not monolithic; they vacillate between nightmarish jet-black claustrophobia and the heroism of overcoming, of transcendence (the near twenty minute long "Hope" being the distinctive case in point). Being introverted and self-absorbed, the album mocks at musical conventionality and aspires to present us with one of the most distorted forms of black metal aestheticism yet. _Dystert Vilse_ itself has nothing to hide, it lies bare, a naked edifice for discerning eyes; it's not a step forwards nor a step backwards for the genre, but downwards, towards the abyss, towards the Source.

Contact: http://cuckoldprod.altervista.org/

(article published 11/5/2008)