In Vino Veritas - Thorns (self-released, 2006)

"In Vino Veritas" is a Latin phrase meaning "there is truth in wine", hinting towards the fact under a certain state induced by alcohol a man exhibits his true inner nature; what would otherwise be hindered while being sober. And very much like so, there is also truth in the pure nature of music, of any kind and temperament, where an artist may divulge a very private part of his consciousness usually indiscernible through other means of expression -- such is the case of this one-man band in question. 

Very much influenced by US black metal acts such as Velvet Cacoon and Xasthur, IVV implore entrancing, treble-ridden riffage and hypnotic rhythms (with the bass-drum being high in the mix) to lull the listener into a state of contemplating trance. Although rhythmical monotony and generally that worn feeling of the music do possess their own mesmerising charm, there is still more to be achieved in the way of compositional development so as to add a further dimension to an already attention-grabbing piece of work. To the appropriately tuned ear, In Vino Veritas' Thorns will indeed invoke its intended imagery of desolation and solitude, but for the rest it will ever-remain something instantly dismissible. 

Contact: http://www.borninblood.co.uk/ivv/
  
(originally written for Chronicles of Chaos - 8/9/2006)

Majeste Simphonia - Tragenda Dramatica (self-released, 2005)

With two songs clocking at just over seven minutes, there's one thing for sure: this is going to be a short review. Obviously, with such a small taste we can't reliably assume what the outfit's actual caliber or potential may be. Nonetheless, the single actual song that comprises this disc (apart from the keyboard-laden instrumental, which, even though a soothing piece of music, is of little importance) presents an ardent and capable outcome well worth its short transverse on this petite demo. It can be characterized as atmospheric / gothic metal finely interlaced with symphonic parts, with a touch of melodic black metal to rev up the overall momentum of the song. Vocals alternate between clean sung parts and typical black metal rasps. Technically speaking, there's nothing exceedingly extravagant in the song's delivery, which makes it a pleasant listen, although just a few notches above the mediocre mark. Of course it hints towards the likes of The Sins of thy Beloved, Tristania (minus the female vocals) and even late Moonspell, which makes its nature derivative and carrying less of an impact. Hopefully next time we'll have a release which is more than an appetizer.

Contact: http://www.majeste-simphonia.cjb.net  

(originally written for Chronicles of Chaos - 16/11/2005)

Haemoth - Kontamination (Debemur Morti, 2006)

                                                        

"Haemoth supports all that can contribute to the ruin of the human being..." Indeed. Look no further, oh blasphemous heathens of a fallen race! Kvlt-inspired cheese aside, this is one wrist-slittingly beautiful discharge of blackened audial venom spewed from the French Haemoth. Think of a stripped-to-the-bones version of early Immortal, dipped in treble galore and sprinkled with the insanely warped sound of the likes of Skaur, Black Funeral and even Axis of Perdition. Audibly this translates to razor-sharp riffage, painful screams drenched in agony and a non-stop double-bass attack. It's that bad, folks. But in this case, it is a good thing nonetheless. Evidently, Haemoth are putting their money where their mouth is on this spiked-up mCD, and as such, are capable of communicating what they are iterating as their fundamental motives behind their creative output, namely overwhelming enmity and sheer emotional negativity, as the distinct, emergent properties of Kontamination. So don't expect fancy technical coagulations or elated symphonic interludes; only fast, relentless, sore-inducing black metal -- no more, no less -- with a mental after-burn of the fifth degree to top it off.

Contact: http://www.haemoth.fr.st/

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

Psycroptic - Symbols of Failure (Neurotic, 2006)

Frenetically unhinged yet delightfully chaotic, satisfyingly unpredictable and never monotonous: this has been mostly the case with these Aussies. Lest we forget, Psycroptic's "The Scepter of the Ancients" was indeed one of the most convoluted death metal albums to sprout up in 2003 and three years later the Tasmanian devils don't seem to be settling for a respite.For the uninitiated, Psycroptic churn a gripping blend of extreme musicianship, mainly driven by abrasive staccato riffing and frenzied drumming minus the excessive US death metal worship. Being an eyebrow-raising piece of tech-death, _Symbols of Failure_ is an album that needs to be taken in a number of times to fully appreciate its complexity through every small instrumental twist. Technically proficient, Psycroptic never settle for textbook dabbling and slot a fair number of different elements in their sound, giving a textured layout to their compositions. There is a certain groove which crops up from time to time; not that being any sort of a stale, pseudo-core breakdown, but rather a rhythmical groove more reminiscent of their Texan counterparts. Guitars carry less of an impact comparatively, although what they lack in bulk they make up in sheer technical exploitation, whilst the drum-work is still lambasting and diverse as always.
 
Being of a rather restless nature; there are times where pinch harmonics and sweep-picked guitar passages rapidly swing from one tempo / time signature to another and others where the lads are content with simply bombarding our ear-drums with throbbing brutality. Not a palpable album music-wise by any measure, it doesn't possess a single standpoint upon which one could infer a safe categorization to fit this innovative outfit into. However, it's still remarkable how some bands manage to sound so blatantly "death metal" and yet being so profoundly un-derivative at the same time and Psycroptic, third time round now, have once again proved that they're one of them. 
 

Contact: http://www.psycroptic.com  

(originally written for Chronicles of Chaos - 17/2/2006)

Vortex - Version (Self-released, 2007)

For a moment there I thought that maybe there was something about this band; that maybe, given the plethora of influences they could tap into, there was a glint of authentic musical acumen. But no; unfortunately for my –by now- shriveled auditory cortex, this particular musical platter hasn't met my, apparently, lofty expectations - not by a long shot. Where Satyricon (with Rebel Extravaganza) in essence provided the most refined form of black metal extremism/terrorism without the need to resort to death metal inoculations; where Thorns (with their self-titled, singular album) fundamentally solidified black metal within its riff-o-logical (indeed, I'm making up words now - mind?) substratum; where DHG (with 666 International) took the usual black metal forms and distorted/contorted/morphed them beyond recognition against a canvas of abstract surrealism, Vortex can only sit cross-legged nearby like the proverbial infant sucking on its thumb, dumbfounded if not rather perplexed. 

VERSion as a musical endeavor is seemingly content with just gliding blissfully along the aesthetical wave of the aforementioned triptych without any indication of stirring into unknown “waters” and countering this wash-over of stale songcraft. Spastically rendered rhythms coupled with shambling dynamics make the songs feel as if they’re stuck in 2nd gear. At their worst they sound like a mish-mash of plastered industro-beats and interspersed, bland staccato riffery; at their best they do sound quite promising, if only for a few transient moments of inspired experimentation. In effect, what has happened here is that the band has fallen in the pitfall that has befallen so many bands before them: the constituent parts are actually more functional than aesthetically genuine, i.e. although the band is instrumentally adept; the very 'soul' of the music remains unconvincing. Vocals only exacerbate any given impression of a musical congruence - sounds like the guy after numerous tries perforce had to settle with just shouting the lyrics with a limited sense of tonal inflection. 

Although admittedly I could only half-heartedly 'get' DHG’s manic structural aberrance, still there was an artistic direction that could be discerned out of the sprawling chaos but frustratingly enough, this is not the case with these Huns. But hey, maybe I’m wrong, maybe these are just the incipient steps of a band destined towards greatness, in which case in the years to come I may prove to be the one narrow-minded individual who couldn't see the genius through it all. But then again, maybe not.

(originally written for Diabolical Conquest - 2008)

Bardoseneticcube / Noises of Russia - New Orthodox Line (Some Place Else, 2007)

 

I suppose any possible arrangement of sound for it to be dubbed 'music' must have a psychological analogue, a mental configuration as it were that reflects an overarching audial theme to its subject, i.e the listener. If such a condition isn't satisfied by the case in point then we could in a formal sense dismiss such an 'arrangement' as noise. But herein lies the paradox - at least in my mind anyway - since for all its noisy recalcitrance with regards to what your typical Average Joe considers as music to dub this offering as mere 'noise' per se would be a misnomer since it manages to conjure such a wide gamut of other-worldly mindscapes that your typical chorus-verse-chorus-verse-solo act couldn't even dream of concocting with its intrinsically myopic compositional strategy. 

Philosophical musings aside, ‘New Orthodox Line’ sees two Russian acts symbiotically bleeding into each other's aesthetical imprint and producing an offering that is over and above the mere sum of its constituent input from the outfits involved. Let me clarify for the un-initiated that the only sense of rhythm and tonality you'll get from this odious split stems solely from the distorted clunking church bells and the monotonous chanting - that's it as far as structure is concerned, everything else is submerged in a tub of harsh feedback and disorientating frequencies. Mind-penetrating cacophony washes over the lingering chants without eclipsing their presence altogether and sampled screeches resonate with tinny reverberation. After a while this seeming thematic antithesis of order versus chaos reaches an end and we plunge headfirst into a whitewashed soundscape of assuaging ambience, resurfacing feedbacks and oscillating clatters of metallic noise. Suddenly of all things, the chilling cry of an infant echoes through this audially weaved expanse before thick ambient layers and the resurging, familiar chanting motif clasp the remaining shards of any sort of cohesion left amidst the splintering noise and henceforth signal an apt closure to this surreal inward journey.

The closest 'metal' aesthetic semblance I can think off the top of my head is Abruptum's ‘Casus Luciferi’ but ‘New Orthodox Line’ is really on another plane in terms of conviction and artistic flair. As the scathing textural dissonance tactfully disrupts your neural circuitry, this sonic experience attains the mystique of a religious mass - formal schemata and meaning are deformed beyond recognition and sheer, direct understanding precedes over any sort of musical conventionalities. At this level of abstraction, potential naysayers might quip a sarcastic comment, mock at the seeming uselessness of such an endeavour and retreat back to their familiar and more approachable musical milieu, but what our unfortunate bipeds have apparently failed to grasp is that objectively speaking pure Art never needed a purpose in the first place anyway.

(originally written for Diabolical Conquest - 31/5/2008)

Wolves In The Throne Room - Two Hunters (Southern Lord Recordings, 2007)

 

At last! At last after a near 15-year long brooding period of itching and scratching a band comes along that truly 'gets' what Vikernes tried to do with ‘Hvis Lyset Tar Oss’ and ‘Filosofem’. At last a band that remains self-realised in its quiddity as an individual unit without compromising its undoubtedly black metal identity. At last we hopeless romantics can let out a sigh of relief (not only because of this particular release mind you, thankfully as of late there has been an array of quality albums) who for a few agonising years doubted that black metal had something cerebral to offer and reluctantly began to accept that maybe, just maybe, all was naught but a mere outlet for pubescent angst. Ladies and gents, I bring you ‘Two Hunters’.

Granted, when confronted with this kind of forest-worship, new-coming minds may subconsciously wander towards Dimmu Borgir era ‘Stormblast’, early Emperor or even *gulp* early Satyricon, but WITTR's musical grandiosity lies not in the quasi-Wagnerian counterpuntal bombast of the aforementioned but rather in the smooth unfolding of songs from theme to theme; progressions are simpler yet more fluid, the grandeur subtler yet even more engaging. Their black metal is a prime example of that rarest of species where the distinct synergy of hooking riff-o-genic atmospherics and emergent ethereal ambiance becomes a commanding driving force of mood and song development - much like what Drudkh and Ulver did in ‘Autumn Aurora’ and ‘Bergtatt’ respectively. But comparisons should end here, since both noted bands had different aesthetical conceptualisations in mind. Accordingly, in terms of sheer instrumental proficiency, there's nothing really groundbreaking here, what stands out rather is their compositional strategy in that they fully understand the building blocks that might otherwise constitute a generic black metal album and reconstruct them from the ground-up in an effectively seamless integration of style and form allowing even relatively foreign elements such as doom and ambient to burrow through un-blemished. Indeed, although a majority of the album's constituents (most notably its rhythmical dynamics) may have been channelled straight from the aesthetical fountainhead of Burzum, its sound doesn't need to resort to harsh textures and low-fi dissonance. On the contrary, the warm, expansive production allows for a harmonic resonance that aptly envelopes the -quite familiar- tonality of their elongated guitar-themed passages. As a matter of fact, ‘Two Hunters’ stylistically is more than just an extrapolation of Burzum's expressionistic artistry but a unique and solidly coagulated rendering of the basic essentials and they achieve this with a jaw-dropping flair that puts 99% of a typical black metal collection to shame.

Despite the above, and well-deserved might I add, accolades one shouldn't approach this musical platter as plain black metal, slapping it on his/her CD-player, listening to it a couple of times and then returning to his/her trite little world. It is a delicately higher and more holistic experience. Set against a natural, tree-laden landscape the music becomes a most mesmerising and befitting commentary on the listener's tranquil surroundings - a musical paean to what Thoreau described as the "refreshing, un-subdued presence of natural wildness".

For the few that understand black metal as something more than a mere nominal denotation this offering is wholeheartedly recommended - the rest probably never did. 

(originally written for Diabolical Conquest - spring 2008)

Eschaton - Promo (Self-released, 2007)

I reviewed Eschaton's debut about a year ago and from what I recall it was a fine dabbling in melodic black metal with some very engaging riffs thrown in the mix. This is their latest release of sorts being a 7" promo of their upcoming album containing two tracks of quality black metal. What's refreshingly apparent after listening to this pair of songs is that Eschaton are beginning to establish their musical identity by successfully following on the template that they set for themselves with their previous effort. Consequently, they're beginning to attain an identifiable imprint of their own which characterises them as a respectable act in their niche. This essentially translates to capturing melodies, simple song structures and a continuous onslaught of emotionally infused black metal. Unfortunately, the production has its glitches being of disappointing standards on this particular release and improvements on it could potentially benefit the overall quality of the songs. Definitely something to whet the appetite for their upcoming sophomore release.

(originally written for Tartarean Desire - 11/12/2008)

Isolation - Isolation (Eisenwald, 2008)

Isolation's second demo A Prayer for the World to End was featured about a year ago on this very publication. From what I recall it was a fine entry into the first division of the black/doom league. Now, I know what you're thinking, but though the case might be that the usual musical set-up on offer by such acts is the droning minor key buzz, miserably lead by a frail, anemic excuse for percussion and topped with the testicle-shrinking, burning-witch shrieks of an asylum escapee, Isolation beg to differ with oppressive auras and convincing audible sickness. Black/doom it might be but a trite, by-the-numbers affair it is certainly not.

Well, given that this release is a compilation of two previous demos (including the aforementioned) there's really nothing new on display - not even production-wise since they audibly still wallow in trebly weak dissonance. Their aesthetic bedrock is essentially the familiar Bethlehem-esque musical schemes of emotively charged, mid-to-fast tempo passages backed with a shrill counterpoint of an almost psychotic vocal delivery. Sometimes guitar passages/themes can also stray into straight-up black metal territory with a transition both natural and appropriate as a tension-release component. The early Katatonia-tinged inclinations in their guitar-based melodicism leave a scent of that bitter/sweet aura of "Jhva Elohim Meth" that synergistically bolsters the despair-laden compositions. Actually, instead of mechanically slapping the black/doom label on their music I'd say that their discography to date chronicles the embryonic stages of a riveting amalgamation resulting from Moonblood's riff-driven melancholy colliding head-on with the dragging and agonizingly unfolding progressions of Katatonia's demo-graphy. To that effect add the comparatively versatile -though loose- percussive dynamics of straight snare-lead pounding, proper tom-tom usage and appropriately accentuating fills and what you have are the promising foundations for what is yet to come - of note is the interesting rhythmical build-up on "The Nameless and Unnameable" that shifts through plodding doom and rippling tom/snare triplet grooves before bursting grandiosely into an up-tempo spurt of sheer black metal (this being a truncated version of the song originally present in A Prayer for the World to End). Although firmly cemented within the self-constrained framework of its genre, Isolation is a comprehensive introduction to the band in case you missed them last time 'round and more than an apt investment for an unpleasant, lights-out, earphones-only musical experience.

(originally written for Tartarean Desire - 29/3/2008)

Isolation - A Prayer For The World To End (Self-financed, 2006)

 

This German band has been around since 2004 and their path is clear-cut towards the most negative of black/doom hybridizations. On their second demo tempos are mostly geared on doomish, dragged rhythms; riffs are effused with melancholy while vocals are reminiscent of Bethlehem and Silencer’s own Nattramn at times but otherwise are of the usual ilk. Aesthetically one might also discern a tint of Shinings’ aura of tormented desolation together with the disturbingly delightful monochromatic drab of Burzum. The mood’s captivating quality is achieved by having appropriate emotively explosive parts which flow into slow, oppressive doom passages. The demo predominantly achieves in exuding its intended emotive portrait of negativity and this is of paramount importance since such intuitive qualities many a time precede instrumental complexity, especially for such acts. Giving more attention on the song’s organization and fluidity would definitely help however, since there is a sense of incompleteness at the song level. The band as a whole does exhibit a natural and strong propensity towards their particular genre but there is a need, although not too obvious, in honing their compositional skills. Ultimately this will allow them to funnel their inspirational sparks into a cohesive whole with more musical composure and make their presence even more asserting and convincing in their next releases. Isolation’s glacial atmospherics should slake any black/doom aficionado’s thirst with their second demo and it is in this aspect that the band has the most potential to expand into and cement itself as a respected unit in its niche.

(originally written for Tartarean Desire - 28/4/2007)

Kraken Duumvirate - From The Dying Soil To The Eternal Sea (Ahdistuksen Aihio Productions, 2008)

 

Kraken Duumvirate are self-described as an experimental black metal band and so my mind went towards something a little more intransigent than what was to be presented herein. As a matter of fact, if there's anything “experimental” going on here it is more like compositional noodling than experimentation in form per se. Their simple organisational approach of short, (sometimes almost staccato-like) musical phrases based around reverbed, tinny sounding guitar-led motifs that keep repeating monotonously and languidly over a prominent stagnancy of rhythmical changes is, for the most part, not particularly effective in this case - I wouldn’t be too quick in lumping the band with the usual depressive black metal pile however. Although this EP’s production bears the customary haze, sans the penetrating wall of treble-noise, and the characteristically moody twang, taken en bloc it’s more evocative of oceanic, deep blue vistas than anything else; so no suffocating “soundtrack to your own suicide” or anything to that effect I’m afraid oh, disgruntled youth.

There is a further stringed instrument (cello?), which although aptly chosen for otherwise imposing atmospheres, unfortunately doesn't add to an already enervated musical texture. And so it turns out after a couple of minutes into this EP, that the emotional flatness that ensues from this phlegmatic set-up only makes it that much harder for the -by now- frustrated listener to gain a thoroughly gratifying experience from it. However their abstract, hypnotic symbolism although poorly reflected in style is nevertheless quite appealing; the problem is that the musical fuselage is devoid of the requisite thrust and so it remains grounded as a rather unimpressive take-off towards atmospheric black metal territory.

(originally written for Tartarean Desire - 6/3/2008)

Spectral Lore - II (Self-released, 2007)

 

Anyone dabbling in the fine arts of black metal is effectively trotting on thin ice these days. Thankfully, throughout this particular album's duration the music seems to traverse its territory with a confident familiarity and reaches the finishing mark – mostly - unscathed. The first effort from this one-man project was an eclectic, multi-layered piece of cold ambience and Xasthur-esque dirge. Spectral Lore's sophomore release is indeed a progression from their debut but not necessarily in stylistic or timbral terms, but rather in structure and effectiveness.

Spectral Lore is an interesting beast. Where bands of the same ilk such as Velvet Cacoon focus on the monochromatic peak shift of the bare essentials, here Ayloss (the sole individual behind the outfit) instead goes for the aesthetical contrast between entrancing ambience and melodically accented black metal. In more abstract terms the album sets up a subtle polarity, which effectively merges the musical expressionism of Burzum-influenced black metal with the neoclassical overtones of its evocative, ethereal soundscapes. The hyper-distorted haze of Xasthur and Nachtmystium is put to good use here as a measured and calculated expedient for projecting the intended mindscape to the listener. Most importantly, Spectral Lore eschew the unfluctuating melancholic themes of the aforementioned and instead tends to be significantly more dynamic, something especially prominent in the guitar work. As a whole it goes more for atmosphere rather than rhythmical assertiveness - which really is not of the essence here - and this is characteristically exhibited through its unimposing percussion and its production that favours high-end frequencies.

Spectral Lore's black metal can be acerbic and raw but it can also be considerably uplifting and epic. It won't necessarily pummel the listener into its pitch-black atmospherics but instead it will lead him/her through the "tunnel" and thereby into the soothing clasps of mesmerising and emotive ambience. Intelligently structured passages deviate the album further away from its minimalist inspirational hub and place it confidently at a safe distance from its derivative counterparts. As a result the music is not necessary hateful or inherently negative in its composure but actually quite inviting and appealing. It really doesn't take much after a few minutes to let your mind wander almost unconsciously in and out of the album's enchanting worlds. Audiences that are on the lookout for "catchy" melodies and standout tracks should look elsewhere. This is an album that should be taken in one straight dose from beginning to end. As such it lets you in for a while to sojourn in its mystical and bleak landscapes and then smoothly shows you the way out again. Track titles such as "Leaving The Stars Far Behind" or "Through An Infinite Dreamscape" are actually suggestive of this.

Be sure to check this out if you're into atmospheric black metal that doesn't simply repeat its musical milieu. Oh, and by the way, the album is released on CD-R and limited to 50 copies.

(originally written for Tartarean Desire - 13/1/2008)

Sepulchral Aura - Demonstrational CD MMVII (Ahdistuksen Aihio, 2007)

Being more or less aware of Juhana Partanen's tenure with the magnificently eerie Aeoga, this foray into black/death territory sounded intriguing if not rather baffling. After a couple of listens, I've pretty much concluded that this mini-CD's acceptance is two-fold: on one hand you have people - most probably proud members of Shagrath's fandom - who will find this offering monolithic and laughably purposeless, and on the other, like-minded connoisseurs whose music collection could easily afford a nice, comfortable slot for this somewhere snugly between Nifelheim's early catalogue and Demoncy's first two spews of putrid bile. Well, apparently I'm leaning towards the second category. These odd 20 minutes of utterly uncompromising musical squalor has managed to strike a chord or two in this writer's battered cerebrum.

So what we have here is a musical platter comprised of four strangely addictive songs replete with an atavistic overtone both compositionally and aesthetically. It's an offering evidently conceived straight from the source, not some poor simulacrum of erstwhile originators of this particular niche. And yes, it could potentially be a demanding listen because of the requisite amount of perspicacity needed to fully take this black/death frenzy in its entirety. I mean, take the guitar's tar-doused timbre for instance or the frantic abandon the percussion is seemingly left in; this is serious business, ladies and gents. To wrap it up, this release in itself is an ugly concoction of rancid, pernicious music - approachable for the few, listenable for the even fewer; within a broader, necrotically inclined black/death metal context it's right down there with Archgoat, Blasphemy and other regulars of the abyssal realms. Good stuff....

(originally written for Tartarean Desire - 15/3/2008)

Herem - Pulsa diNura (Rusty Crowbar Records, 2008)

Apparently, doom metal and its variants have become the only place where that cynical, un-pretentious attitude - the very core of metal's inherent rebelliousness - can find refuge in these hard times. And Herem gladly attest to this observation with throbbing bass lines and rumbling riffage which flow like a stream of raw sewage along a conspicuous stratum of Cathedral-esque murkiness. Don’t expect that chaotic, all-over-the-place aesthetic of filthy and noisy doom bands however - their song structures remain characteristically cohesive and neat throughout. Musically they base their compositions around an elementary backbone of Kyuss-inspired rhythms and a conflation of stoner and doom/death melodicism. Indeed, their touches of melodic finishes and verses may be prominent but they possess that extra dose of ballsy attitude to allow their music to dispense with the excess baggage of maudlin sentimentalities seamlessly and effectively. Oh, and when's the last time you heard a female vocalist deliver a convincing torrent of monstrous gurgling? Well, you might be in for a surprise. Although in terms of vocal inflection she doesn't score quite as highly on the Runhild Gammelsaete scale, her vocals have a commanding presence both rhythmically and tonally. If you’re into structured, authentic doom then this little platter of uncompromising yet tuneful spite might very well be up your alley.

(originally written for Tartarean Desire - early 2008)

Vandöd - As (Ex Mortem Records, 2007)

Had this album originated from any place other than the ever-productive metal-hive known as Sweden, perhaps it would've faired better on my ears; but given this band's lucrative musical heritage (particularly in their genre of choice, i.e. black metal) there is really little to redeem them of their unimposing standing.

Don't get the wrong impression though: where this band shows its teeth their innate Swedish flair becomes assertively prominent, especially when they embark on fast, pummelling exercises in black metal ferocity. The pounding, slower interims of doom-ish sludgery are effective and appropriately menacing. But still, as a whole this offering remains unconvincing. Perhaps it's because their black metal lacks the caustic conviction of Dark Funeral's early spells or even the six-stringed incisiveness of Dissection's seminal output. Or perhaps because most of the creative élan that this band possesses is shamelessly squandered due to the album's loose musical set-up and dishevelled vocal parts. And this is notwithstanding the fact that their sound is seriously hamstrung by an appalling and incongruent production. In any case, it leaves much to be desired, not necessarily in terms of execution, because there's a lot of eye-poking quality in that area, but mostly in structural cohesion. So to sum it up, although As is definitely a respectful effort, their sound could certainly use some contextual maturity before it can evolve into a standalone and solid musical identity.

Contact: http://www.vandod.se/

(originally written for Chronicles of Chaos - 26/1/2008)

fragment. - monolith (Cuckold Productions, 2008)

 

 

This aptly titled album is what I would describe as the ideal lights-out / earphones-out only experience. Heck, even while actively trying to scribble some lines on the music, I often found myself inexplicably drawn into its drifting imagery in an almost hypnotic manner -- not a casual listen indeed. monolith meanders somewhere in the no-man's land between doom/drone and shoegaze; a daring (not necessarily experimental) but rewarding musical endeavour. The repetitive if not dragging and particularly long, non-cumulative song development effectively pull the sound's melancholic demeanour at a marginal distance from post-rock territory. However, the syrupy melodicism that makes its subtle appearance in the compositions gracefully tips its hat to Mogwai et al. Taking cues from the mighty Jesu, textures are permeated with reverberating washes of shoegaze-inspired fuzziness which provide a thick backdrop for the guitar lines to unfold freely. Vocals become enmeshed with the harmonically dense layers of sound upon sound and so become inseparable as the notes writhe with mind-lulling resonance. The embellishing counterpoint of synths also adds a further dimension to the entrancing soundscapes.

In general terms, it's a musical journey that sidesteps banality with confident strides thanks to its firm foundations, but stops short before becoming all too creatively intransigent. Personally, I've never been the biggest fan of this sort of music and its ilk, but the serene magnetism that this certain release carries definitely warrants further re-visits into its strangely appealing world.

Contact: http://fragment-com.blogspot.com/

(originally written for Chronicles of Chaos -  11/5/2008)

Ascaroth - Emperor of Human Fears (Inner Voice, 2005)

I might as well go ahead and say it: if you've had enough with raw, ear-jarring black metal which can't seemingly escape from Darkthrone's overhanging shadow, you might as well skip this review, because this demo won't change your mind. On the other hand, if you're habitually numbed to your usual, tenaciously acrimonious black metal outfit, read on. _Emperor of Human Fears_ comprises three tracks, of which one is a cover of Burzum's "War". Both of Ascaroth's songs have that mandatory harsh black metal thrust which harks back to Marduk, Pest and Darkthrone's first few spells, amongst others. Although raw in their delivery and not exactly original, they do possess that old-school hook which can keep you turning the demo a number of times. Unfortunately that's the only hook this demo seems to have, and although Ascaroth are, dare I say, enjoyable on a three-tracker, I wouldn't bet on a prospecting album of a similar approach being anything more than an ill-fated yawnfest.

Contact: http://www.ascaroth.cjb.net
  
(originally written for Chronicles of Chaos - 20/2/2006)

 

Bizarrekvlt - Kil Estenda (self-released?, 2006)

Unfortunately, the accompanying promo-sheet doesn't say anything about the band's origin or constituting members. From the writings on the envelope, I am left to deduce that the members comprising the band reside on some far remote region of the ex-Soviet Eastern block. Well, at least they've spared us the "whoa, look at me!" synth pseudo-luster of other offerings, and instead present us with five tracks incorporating quasi-Dissection / Necrophobic style riffage and old-school Hellhammer-esque hints, with some prominent slow parts whose inherent bleakness would like to have something more of Bethlehem's necro / doom aura. During faster passages the rhythm section simply falls apart, seemingly incapable of keeping a steady beat for more than a couple of bar measures.

There is a faint suggestion of an attempt at producing something of a coherent nature here, but it just doesn't quite make the ticket. So here we have it, ladies and gents: yet another "dime-a-dozen", yawn-inducing slab of uninspired, self-labeled black metal. 

Contact: jointhekult@gmail.com
  (originally written for Chronicles of Chaos - 23/10/2006)

Animus Mortis - Thresholds of Insanity (Debemur Morti, 2005)

 

 

There is something about South American black metal bands that gives them that raw and un-inhibited edge to their music. Be it the perpetual state of social turmoil that they seem to inhabit or the scorching Latin sun, bands such as Mystifier and Sarcophago have remained notorious for their seminal works of brutal and anger-fueled black metal aggression. However, the Chilean Animus Mortis' particular brand of belligerent and sweat-ridden black might beg to differ. _Thresholds of Insanity_, although nowhere near conservative in its delivery, is more influenced by their European counterparts, something characteristically noticeable on their resonantly melodic overtones. Specifically, their raw-cum-melodic musicianship is reminiscent of Emperor's early forays into black metal territory amongst other familiar, early habitués of the genre, including Dark Funeral and Gorgoroth. Long story short, this is a welcome 20-minute shot of abrasive, ill-refined black, writhing with waves of that familiar and fuzzy Scandinavian melody and a persuasive mental note to keep for the future.

Contact: http://www.animusmortis.tk

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

Nefas - Promo 2006 (self-released, 2006)

 

 

Brutal death metal in the vein of Nile and Suffocation, with some references to Deeds of Flesh, is what the Italians are fervently indulging in this anything but digestible demo-sampler. Everything is here: discordant harmonics, staccato riffing, a tireless rhythm section and, of course, subsonic vocal attacks. Deliberately chaotic in delivery, Nefas are not the first of their ilk. As such, although the lads here are convincing with regards to their technical prowess, they fall short in producing something even remotely original. There are some interesting ideas, but they become buried after the continuous surge of aberrant musicianship. Production is somewhat weak, so it leaves room for improvement in their upcoming album. A quite interesting release primarily intended for brutal death metal fetishists.

Contact: http://www.nefas.it

(originally written for Chronicles of Chaos - 20/6/2006)

AX - Glare of Autumn (RuneFire Records, 2008)

Glare of Autumn: yeap you've guessed it, with a more than alluding album title, AX concocts its own rendering of Drudkh-esque imagery and the first tribute of sorts to the Slavic black metallers that has come to my attention. It is comprised of five songs that are actually quite enjoyable, but inadvertedly only just whet the appetite for the "real deal" after a while. In case you have yet to be introduced to Drudkh's catalogue, this platter of endearing, melancholically driven compositions might just sound like something out of the ordinary; the ebbing melodies and endearing solos already guarantee a placing above the regular drab. Yet for all its paced, harmonically engaging and effulgent thematics, AX pays dearly for its zealous, undeviating adherence to the original blueprints. Any sort or even subtle hint of authenticity soon gives way to bland repetition many a time and the formulaic predictability of the overall song structures enervates the final outcome irrevocably.

Although drawing inspiration from a seminal source, this EP's musical imprint remains unassuming and trapped in its own self-limiting compositional framework; a mere ersatz of the Ukrainian outfit's romanticism which perhaps could've fared a more apt presence as an abstract influence on some other release of theirs. I suppose seen as a tribute it most definitely serves its purpose, but otherwise scores poorly on the interest ratings.

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

(originally written for Chronicles of Chaos - 11/5/2008)

Mourning Dawn - Mourning Dawn (Total Rust Music, 2007)

I was introduced to Mourning Dawn's self-titled debut with a mixed sense of doubt and apprehension, but all my concerns were soon to be allayed by the album's unmistakable quality. The oppressively tense feelings that this album exudes really do stir the most sensitive souls among us, but this is only one part of the equation. Even if a song is dragging at pain-staking paces or culminating in aptly placed black metal climaxes, it is evident that the people behind this work have actually put effort into making a convincing and repressive piece of delightfully morose black/doom metal. To further add to the necessary poetics, Mourning Dawn is the audial equivalent of a dilapidated milieu of utter desolation (sorry, I just can't help it), and this is the truth. Aided by the tattered production, the atmosphere here becomes gripping and penetrating; no wonder at first I had a feeling of cathartic release when the album's near one hour long duration hit its finish mark.
 
If you're into bands like Bethlehem, Deinonychus or one of those people who think that Katatonia just sold out after Dance of December Souls, be sure to check this one out. 

Contact: http://www.mourningdawn.com

(originally written for Chronicles of Chaos - 5/4/2007)

Darkemist - Mindseek (Self-released, 2004)

 

Darkemist are a Chilean band playing quality melodic death metal which is something of a blow to someone unfamiliar with the band. Technical acquisition is the order of the day in such instrumentally demanding genres and the Chilians prove that they are adept in many areas. Musically they are akin to the early Gothenburg movement but not necessarily following the trite modernisms of late. Album opener ‘Down’ begins with an eerie synth intro after which the guitars blast through, a well-structured song nonetheless with a melodic and catchy chorus. ‘Kingdom of my own’ and ‘Parasite’, as well as other tracks, are charmingly ‘In Flames-esque’ which is something of an inevitability considering the album’s musical rooting. Powerful and fervent percussion paces the album on a steady and robust rhythmical framework. Darkemist manage to balance the melody factor without being excessively mellow or trite by throwing a number of interesting elements in the mix including more harsh outbreaks at times specially in the case of the album’s final track ‘Coming Back’. Inevitably the band doesn’t exactly break the mould here, safely adhering to known and recognizable formulas. Nonetheless an interesting piece of quality melo-death for the fans of the aforementioned genre and not only.

(originally written for Tartarean Desire - October 2005)

Goat Holocaust - Satan Jugend (Infernus Rex, 2006)

Boasting cult figures Christophe Szpajdel and Chris Moyen, taking charge of logo and cover artwork respectively, the proverbial saying “Never judge a book by its cover” finds a direct and unfortunate validation on this release. Shamelessly generic at times, Goat Holocaust’s “Satan Jugend” faithfully gyrates its un-inspired riffs at a nearly stroboscopic rate, bluntly leading the listener into a light-headed daze. There are a few interesting moments on this album but unfortunately its weak and bland dynamics fail to convince. That blackened scuzz of yore is put into ill usage here and it enervates the overall outcome more than anything else. However on a more positive note, the duo behind the band are seemingly aware of the main elements that’d otherwise constitute a quality black metal album, the problem is that they are left adrift without direction and of course the lifeless percussion present on this album isn’t helping much either. It just goes to say that without a chef behind the kitchen bench, eggs, cheese and ham wont make themselves into an omelette, let alone a good one. Better luck next time.

(originally written for Tartarean Desire - 2006-06-24)

Boasting cult figures Christophe Szpajdel and Chris Moyen, taking charge of logo and cover artwork respectively, the proverbial saying “Never judge a book by its cover” finds a direct and unfortunate validation on this release. Shamelessly generic at times, Goat Holocaust’s “Satan Jugend” faithfully gyrates its un-inspired riffs at a nearly stroboscopic rate, bluntly leading the listener into a light-headed daze. There are a few interesting moments on this album but unfortunately its weak and bland dynamics fail to convince. That blackened scuzz of yore is put into ill usage here and it enervates the overall outcome more than anything else. However on a more positive note, the duo behind the band are seemingly aware of the main elements that’d otherwise constitute a quality black metal album, the problem is that they are left adrift without direction and of course the lifeless percussion present on this album isn’t helping much either. It just goes to say that without a chef behind the kitchen bench, eggs, cheese and ham wont make themselves into an omelette, let alone a good one. Better luck next time. - See more at: http://www.tartareandesire.com/reviews/Goat_Holocaust/Satan_Jugend/3436/#sthash.gtGWG3i9.dpuf

Mentor - Creeping Thoughts... Beautiful Crimes (Self-financed, 2005)

 

Eight songs clocking on more than half an hour of quality black metal make up this well beefed up demo. Mentor sprouted back in the early 00’s, releasing their first demo being “The Gate”. This being their second demo could well be a full-length release not only due to its quantity but also because of the beautiful packaging that it comes with, which could easily be part of a professional release. Musically the band exhibits a well played brand of Greek black metal intermingled with intricate and original melodies paying homage to the Hellenic black metal originators (Rotting Christ/Varathron/Necromantia). All eight compositions move on a satisfying scale, production (recorded at Nemesis Sound Studios) being one of the highlights especially taking into account the fact that this is a demo release. There is also a number of clean, atmospheric instrumental parts sprouting throughout the demo adding an extra feel to the whole sound. Unfortunately there are some blunt parts as well which decrease the whole interest level at points partly attributed to the drum work which is a few notches above mediocre. Definitely there is a need for maturing in terms of song composition and in developing their own musical identity but nonetheless the band does look promising. Band contact: mentores@vip.gr.

(originally written for Tartarean Desire - August 2005)

Roanoke - Stormbringer (Doomphonic Recordings, 2005)

 

Whoa! What the hell was that?! I must admit, doom/slugde, drone and otherwise extreme doom acts do require their fair share of listens before you become habituated to their elephantine sound, but no matter how many times you give this CD a spin it always comes off as though you’re having your head in a vice during its time-span. 

Borrowing aesthetically from Electric Wizard and Japan's very own Corrupted this is an album set to test the limits of our listening perseverance. And whilst you hopelessly try to expand your attention span beyond the five-minute barrier amidst this barrage of comatose guitar riffage strewn on a rhythmical dearth of temporal changes, the senses become numbed to the repeating, piercing song structures which so tortuously unweave through thick stratums of dampened, down-tuned chord successions. 

Slow, monotonous and unwearyingly heavy, this is indeed one uncompromising release. Be it a moment of alcohol-induced daze imbued with a soporific sensation of numbness stretched unto 30 minutes of disquieting dirge or the sonic equivalent of slow moving molten lava, this is definitely an album to be taken in small doses. Leave a man of a relatively healthy demeanor listening to ‘Stormbringer’ for 24 hours and you'll come back to find him in a trance-like stupor, visibly resembling a drooling idiot in a vegetative state.

(originally written for Tartarean Desire -  December 2005?)

Kallbrand - Bedrövelse (Inner Voice Records, 2005)

Kallbrand is a promising black/ambient project of one J. Abrahamsson, and this is his first offering. As the synth-laden ambient intro of _Bedrövelse_ ushers you into the world of Kallbrand and its bleak apparitions, you can't help but get comfortable in its inviting atmosphere. Not before long, perhaps too shortly for that matter, "Det Svarta Hav" follows with its catchy folk-tinged black metal riffs, which for some obscure reason remind me of Arckanum. The next three tracks are of a distinctly ambient affair; think Burzum's melancholic imagery and Abigor's more atmospheric parts (_Orkblut_ era) with less of the symphonic bombast. Be it as it may, it becomes quite noticeable after a while that the tracks in question fall short in successfully enmeshing that entrancing ambient element into the demo's black metal backbone, which makes it sound disparate in terms of continuation and musical fluidity. Sounding more like the incipient steps of a budding artist (well, it is a demo after all), _Bedrövelse_ comes from a band which undeniably is in need of maturation, in order for its future efforts to stand on their own two feet. 

(originally written for Chronicles of Chaos - 20/2/2006) 

Korinth - Sign of Eternal Return (Construct.Destruct.Collective, 2008)

Sign of Eternal Return is a gloomy and evocative musical tapestry artfully poised within the dark ambient genre. The diffusing soundscapes that Korinth weave are particularly conductive in conjuring images of melancholic desolation with a permeating sense of dread. Although there is an orchestral feel to the album, it's not quite as triumphantly Wagnerian or stratocratic as Sophia, tending to be more subtle in its arrangements.The single composition that comprises the album develops upon strata of lingering chants, droning sounds and an underlying mesh of cacophonous effects including clashing metal and rumbling frequencies. Actually, "develop" is really a loose word in this context, since compositionally the track's progression never reaches any form of resolution, it remains veiled in its own mystical aura without ever transgressing towards an outlet for the increasing tension. And this in itself is most befitting, given the non-linear nature of the album's adopted Nietzschean theme of "eternal return", but at the same time it imposes a sort of musical homogeneity on the track that drags on for a tad too long even for this kind of music. Not a terribly impressive effort, but if anything, it's a captivating piece of dark ambient.

Contact: http://constructdestroy.com/

(originally written for Chronicles of Chaos - 25/5/2008)

SAD - Total Nothingness (Regimental, 2006)

Total Nothingness is a rather tasteful attempt in producing that fuzzy, trance-inducing brand of mid-paced black where essentially that seminal Nordic coldness is interwoven with the epic melancholy of early Moonblood (and Nargaroth even). What this means is that you should expect a frugal canopy of melancholic, simple riffs protruding through a thin wall of distorted haze, seemingly devoid of audial clarity. Stylistically, this minimalist approach does not guarantee something out of the ordinary, since such endeavours have been heard many a time. The demo has its high points in exuding that dismal essence, but there are also times where musical passages become quite bland in the final outcome, lacking in energy and overall emotive explosiveness. Moreover, vocals really do need work in order for them to sound in sync with the music itself, as well as perhaps lowering them in the mix. Nevertheless on the plus side, layout and packaging is indeed of a professional calibre; nothing can beat that appealing simplicity of black-and-white when applied properly.

The demo is available through Regimental Records.

Contact: http://users.forthnet.gr/ath/thimios/ 

(originally written for Chronicles of Chaos - 28/7/2006)

Primordial - To The Nameless Dead (Metal Blade Records, 2007)

 

Primordial's latest, "To The Nameless Dead" is a more than convincing testament to their already ossified place as one of the most innovative bands in metal today. Black metal, Celtic/Folk metal, Dark Metal? Does it really matter? It seems to be the case that bands of this stature cannot be pigeon-holed into a definitive genre. This particular album's musical ebullience is simply too restless, too intransigent to fit in the boundaries of such a denotation. The tried and true recipe of erstwhile offerings vindicates itself once again: the combination of Nemtheanga’s enthralling epic lyricism with the soaring melancholic melodies present in each song deliver what every devoted fan has come to expect from this band. The riffage is vintage Primordial all the way and the percussive duties courtesy of S.O. Laoghaire drive the dynamics of the music in a most befitting manner. The songs on this album pound the senses like waves: ebbing mid-tempo deluges of despairing melodies that flow majestically into those familiar exalting crescendos. There are subtle differences between this album and their previous offering “The Gathering Wilderness” and even albums before that. While these were predominantly characterized by a bitter, more pessimist undertone, this album is almost uplifting at times like a heroic insurrection from the mire.

As ever, where the band truly shines however is in its honesty and genuine emotion which allows them to transpose their inspirational fountainhead unto music with a unique conviction of purpose. Where most seek to lull the listener into vacuous soundscapes of fantasy worlds, Primordial's painful realism hits you right in the face with their powerful guitar work and hair-raising lyrical passages. In this album the latter deal primarily with the endless struggle of generations of men to fight to the death for a piece of land and call it their own with a prime focus on the supreme tragedy that this ongoing cycle of victory and loss entails. And what better vehicle for this than Primordial’s epic, battle-worn sound? What I particularly appreciate about Primordial and especially in this case is their intriguing insight into such matters. Be it their innate Celtic temperament or the tumultuous history of their native land, there is always something appealingly authentic emanating from their music that keeps them light-years apart from sounding even remotely corny. The artists draw deeply from their hearts and manage to reach as deep in the listener’s one as well.

Arthur Schopenhauer once wrote that the aesthetic appreciation of music relieves our person from the grips of an otherwise enslaving and oppressive reality (what he termed, in metaphysical terms, as the Will). It allows us to achieve a sort of cosmic union with the perennial forces that seem to mold the course of mankind since its wake and therefore a release from the dreary everyday-ness of our lives. Ultimately, the poetic blend of sound and prose in this particular case successfully renders the tragic Geist of humanity into an audible, tangible form perhaps for some even achieving the aforementioned aesthetic emancipation. "Where is the fighting man?" cries Nemtheanga in a demanding, almost desperate tone of voice. Aye, the answer lies in the Man himself lurking in every one of us and his spirit transcendentally objectified in every note herein. And this is all this humble writer has to say for what might yet very well be the best metal release for 2007 and quite possibly Primordial’s most streamlined and mature offering to date.

(originally written for Tartarean Desire - autumn 2007)

Anael - Wings Of Mercury (Barbarian Wrath, 2005)

 

Apart from hardly being an eye-brow raising listen, "On wings of mercury" lacks a congruent and coherent backbone to sustain the momentum on par with its musical predisposition, which is a particularly plodding black metal of sorts (Monsieur Quorthon has the lion’s share in the influences dept.) with a heavy/thrash slant. It is most interesting the fact that ‘Necromantic Rituals’, the band's debut and one of my personal favorites for 2003, attained a much more menacing and convincing demeanor than its successor; this sort of devolution if you will, could be attributed partly to a frugal utilization of interesting elements to augment their musical presence in their latest release. Gone are the cleverly placed Samael inspired riffing (save perhaps one or two tracks) and the ominous atmosphere of the former. Of course keyboard interludes and harmonized vocalizations are present but instead of enhancing they encumber; the album seems to be languidly carrying itself throughout its time-span instead of ripping through with conviction. As a result I found myself halfway through the album wondering if it was worth another spin. I guess every band is allowed a “flop” in its discography, let’s hope this is Anael’s only one.

(originally written for Tartarean Desire - early 2006)

Sempervirens - Dirge of the Dying Year (Stellar Auditorium, 2008)

I must say, I find this particular brand of music, i.e. ambient, a tad difficult to describe, let alone review. Imagine trying to portray in linguistic terms the sounds and impressions of an early morning rise in some remote forest setting: the waking chirping of the birds, the sprawling flora blooming to embrace yet another day's worth of sunlight... How exactly does one fully capture this circumambient configuration of sound without giving way to some seemingly structureless orchestration, without sacrificing percussive rhythm for sheer intuitive fluidity from soundscape to soundscape? This is much the case with bands such as Biosphere, Aphex Twin, Lustmord, Undiscovered Moons of Saturn and evidently this one-man outfit known as Sempervirens. One could even say that this is music in its most un-adulterated yet un-refined form.Sempervirens' ethereal soundcraft is skeletal when it comes to instrumental complexity, but soothingly evocative in imagery nonetheless -- you don't so much listen as participate in the music yourself, weaving mindscapes out of this amorphous, transparent tapestry of sound this Estonian act is laying down. All components -- rumbling ambience, voice samples (including a snippet of Edward Norton from "Fight Club"), distorted fragments of classical music and resonating, crisp drones -- are contextualised within this rich thematic framework. They dissolve into some form of aesthetic Gestalt, an audial meta-structure that demands to be heard and absorbed fully rather than being actively dissected / analysed / reduced into its different constituents.

As previously mentioned, it is quite difficult to give an apt description of music that belongs to this particular ilk. Even an arbitrary scale of 0 to 10 isn't quite enough to quantify the impression that any given listener at any given time will experience after listening to the album. This is exactly because the raw sense-experience induced is nigh impossible to objectify. Attempts at such a task abound but are, more often that not, restricted to metaphor. I purposefully tried to avoid such a strategy. Yes, _Dirge of the Dying Year_ might very well sound like resting peacefully at the bottom of an ocean, or like traversing the barren landscape of some far away planet, but is there not any other way? Could there be? Schopenhauer once wrote that pure music is not merely an accompaniment to the listener's surroundings but it -becomes- his surroundings -- I suppose it's as good an answer as any.

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

(originally written for Chronicles of Chaos - 26/7/2008)

Absentia Lunae - In Umbrarum Imperii Gloria (Serpens Caput Productions, 2006)

I must say Absentia Lunae caught me a little unawares there. After being bombarded by the black metal raucous of "Fortis Cadere, Cedere Non Potest", I subconsciously prepared myself for yet another band who exercise in the fine art of black metal tomfoolery where speed precedes the actual essence. Well, I was in for a surprise. Blatantly influenced by the more avant-garde side of black metal as pioneered by bands such as DHG, Ved Buens Ende and Arcturus (although not as near to their musical effulgence), Absentia Lunae attempt to present a more original, even personal manifestation of their artistic endeavours.Variation in both mood and rhythmical dynamics ensure a tumultuous yet emotive output paved on a tight and robust percussion. They employ interesting cadences akin to more classical forms, where surreally melodic guitar passages escalate into faster spurts of frenetic blasts. Of course fast, tremolo-driven passages are not amiss here, since they act as an appropriate release element. Vocals unfortunately do not follow the album's interesting variations and become a burden at moods where unorthodox vocal patterns perhaps would be more appropriate. Jazzy patterns also make their subtle appearance at times, giving the album's progression a more elaborate touch of musicality.

Although the fact is that not a lot of bands are keen on following the same path Absentia Lunae are trotting on, this doesn't necessarily imply that they are the most original of acts. As I said before, I was pleasantly surprised; this is indeed quality stuff, but still I'm not particularly impressed. Not yet, at least, since there is definitely a lot of potential on display here.

The album is pressed on vinyl only and strictly limited to 400 copies.

Contact: http://www.absentialunae.com

(originally written for Chronicles of Chaos - 28/7/2006)

Burial Hordes - War, Revenge & Total Annihilation (Asphyxiate Recordings, 2006)

Since I’m not a stranger to this Greek band after listening to their previous demos I can’t say that this pounding pandemonium featured herein was much of a surprise. Firmly planted into the black metal fold as established by acts such as Gorgoroth (think "Under the sign of Hell" with a touch of "Antichrist"), Marduk and Dark Funeral, "War, Revenge & Total Annihilation" is quality black metal that remains faithful to erstwhile values. Compared to earlier efforts, the music on offer here is much more direct and “to the point”. Where “Mors Luminis” featured slower and more atmospheric passages, WR&TA shows no remorse. Thankfully, the attention-span threshold as far as time-length is concerned is not exceeded. Had that been the case, the album would lose much of its spite. In addition, militant rhythms like those on "Aeons Of Hell" or those subtle hints of melody on "Cosmic Genocide", give the album enough variation in both riffage and momentum to prevent it from melding into one continuous raucous blur. Influences here are measured and put into right use but of course eye-poking nods towards the Swedish school of razor-sharp riffage are not absent, with "Beyond Thy Mortal Sphere" and "Unholy Ultraviolent Domination" being fine examples. Rest assured though, they’re far from your typical black metal regurgitation. As I'm listening now to 'Cosmic Genocide's pernicious riffs rippling through the airwaves with their throbbing audial assault, I can't help but give off that familiar smile of approval and with the album’s paced yet caliginous, concluding track there are only three words resting on one’s tongue: Attack, attack, attack!

(originally written for Tartarean Desire - summer 2006)