 AETHERIUS OBSCURITAS
Black Medicine / Fekete Orvosság
(Paragon)
Rating - 8.5/10
Going under the unwieldy moniker of Aetherius Obscuritas,
this one-man Hungarian project is the work of Arkhorrl, aided by a session
drummer. Black Medicine is his fifth album in as many years and is actually
one of the more impressive black metal discs I’ve heard lately.
Right from the start, it is clear that the main influence
at work here is the old Nordic masters of the genre, with a mix of icy
Norwegian atmosphere and the Swedish attention to melody and structure.
Having said that, it is also clear that Arkhorrl has clearly discovered his
own voice and manages to make Black Medicine sound familiar without sounding
derivative.
The prominent vocals give the music a lot of its
character and range impressively from shrieks to a harsher, more mid-range
style without ever exiting the realm of black metal. Some brief clean vox
even creep into “The Moon Shield,” though frankly things would be just as well
without them.
Musically, there is plenty of speed and grey, cold
riffing to be had but things do slow down now and again on tracks like “Zord
Mosoly / Grim Smile” to favor some folkier-sounding riffs. Things are also
varied with a couple of covers, namely a ripping take on Marduk’s “The Black
Tormentor of Satan” and a fairly restrained version of Running Wild’s “Black
Demon.” The clean guitar outro is remarkably subtle and, dare I say,
beautiful.
Another thing I enjoyed on this album was the bass
playing - yes, that’s right, actual bass playing on a black metal record.
Granted, the mix is still EQed to the higher frequencies, but the actual bass
lines are quite clear and often just as interesting as the guitars.
While Aetherius Obscuritas do tread some well-worn paths,
they do it with style and conviction and, most importantly, some strong songs
and performances.
http://www.arkhorrl.hu
[Daniel Hinds]
 AZAGHAL
Teraphim
(Moribund Cult)
Rating - 8/10Finland’s Azaghal quickly follow up last year’s critically well received
“Omega” with yet another full-length, their eighth overall, entitled
“Teraphim” and released on the omnipresent Moribund Cult label. “Omega” was a
hard hitting release with loud, icy production that saw Azaghal blasting away
with one great song after another. The foci of the album were brutality and
all out blasts, all pulled off in a very precise manner, as “Omega” is a no
frills album if there ever was one. “Terpahim” is a different animal, yet is
also masterfully done.
Immediately, “Teraphim” has a slightly warmer, organic production that will
probably mark the album as more “accessible”. In addition, although plenty of
all out blasts are present, a good portion of the album slows things down
considerably with plenty of mid-paced tempos backed up by solid riffs and
moments of melody. “Teraphim” is also downright catchy, whereas I wouldn’t
necessarily use that term to describe “Omega”. In short, Azaghal have shifted
gears, rather than throw a mere sequel to “Omega” at metal’s collective
consciousness, and the cold atmosphere from “Omega” has been warmed slightly.
Add to the album a few moments of clean vocals and keyboard melody, and
“Teraphim” is definitely dialed back a notch from the fury of “Omega”. You
need not worry, though, as Azaghal is still an ornery beast with plenty of
cold blasts throughout “Teraphim.”
Although “Omega” is a fantastic album, I, for one, welcome Azaghal’s change of
pace as they’re able to pull off an excellent album in “Teraphim”. Stellar
songwriting and musicianship abound throughout, and I see no reason why
Azaghal should not be considered a top tier band. “Teraphim” is highly
recommended.
http://www.myspace.com/azaghalterrorcult
http://www.moribundcult.com
[Dave Schalek]
 BLACK BREATH
Razor To Oblivion
(Southern Lord)
Rating - 7/10
OK, I’m obviously reminded of Entombed by Black Breath, and that’s not just
because of the band’s name. Playing a sort of death n’ roll/ crossover/ just
plain ol’ rock n’ roll hybrid, Seattle’s Black Breath reissue their debut
four-song EP from 2008 on Southern Lord Records.
Taking mid-period Entombed’s death n’ roll tendencies as a basis, Black Breath
pile on some mid-paced tempos periodically ramped up to a galloping speed, a
really loud guitar with a raw edge, a huge percussion, and a snarled vocal
delivery. For the most part, the formula works on this short EP of just fewer
than 15 minutes, as the music is sufficiently loud and well played. I’m quite
sure that Black Breath go over very well in a live setting, but the
songwriting is just sort of average and doesn’t really grab me.
However, as far as introductory EPs go, “Razor To Oblivion” by Black Breath
showcases a new Southern Lord signing that demonstrates some promise.
http://www.myspace.com/blackbreath
http://www.southernlord.com/
[Dave Schalek]
 BRAINSTORM
Just Highs No Lows (12 Years of Persistence)
(Metal Blade)
Rating - 9/10
Though I usually don’t spend time reviewing ‘best of’
collections, this one was special because (a) it includes eight rare bonus
tracks and (b) Brainstorm are a hugely underrated band that deserve way more
attention than they’ve received thus far.
First up are the tracks from the all the studio albums,
starting with Downburst and heading back in time all the way to 2000’s
Ambiguity. Song selection on a compilation like this is always critical and
I’m glad to say that whoever was choosing chose well. Classics like “Fire
Walk With Me,” “How Do You Feel,” “Worlds Are Coming Through,” and “Highs
Without Lows” are here in all their glory. In terms of songs missing that
really should be part of this 2-CD set, maybe “All Alone” or “Dying Outside”
would have been nice but I can’t really complain about any of the tracks
included and there is only so much space.
Brainstorm has a knack for writing powerful, melodic
heavy metal songs that are memorable and emotionally-charged, thanks in large
part to vocalist Andy B. Franck’s versatile voice. He can croon on “Heavenly”
and then turn around and belt out some hard-hitting lines on something like “Shadowland.”
The other thing Brainstorm have going for them is the lack of modern power
metal clichés: no thinly disguised AOR, no fantasy concept albums, and some
actual variety in the songwriting department. By the same token, they don’t
sound dated at all and don’t fall into the trap of rewriting Accept and
Helloween for the zillionth time.
Delving into the extra tracks, which are generally taken
from Japanese and limited edition releases, “Face Down” is somewhat
forgettable but “Breathe” and “Drowning” are both stomping rockers in the
Brainstorm tradition. “Crawling in Chains” is less melodic than usual with
gravelly vocals and I wouldn’t even know it was Brainstorm if I just heard it
at random. “Before the Dawn” is an excellent take on an underrated Priest
tune, while “Is This the Way to Amarillo?” is a cover of a Tony Christie song
(written by Neil Sedaka, if that helps any) and finds the band wading into the
world of bouncy 70’s pop (and, sadly, drowning). Closing out disc 2 are live
versions of really early cuts “Voices” and “Liar’s Edge,” giving the listener
a little taste of the band’s more humble beginnings.
As someone who already owns most of the albums this set
is drawn from, I would rather have seen a collection with more of the rare
tracks included, but as a starter for folks unfamiliar with Brainstorm, the
aptly-named Just Highs No Lows will give you a taste of the best the band has
to offer.
http://brainstorm-web.nicowobben.com
[Daniel Hinds]
 CAULDRON
Chained to the Nite
(Earache)
Rating - 8.5/10
The sticker on the front of this album said it was for
fans of Dokken, Queensryche and Diamond Head. Hmm. Not exactly selling me on
this band, guys. Thankfully, the brand of metal this retro-minded Canadian
outfit serves up is considerably more interesting than said sticker would
indicate.
The opening riff to “Young and Hungry” is so simple and
primal, it is immediately infectious and sets a good tone for the rest of the
album. Vocalist Jason Decay has the perfect clean, somewhat high and nasally
voice to bring the songs to life, not to mention firmly entrench them in the
early 80s style. The riffing, while generally pretty melodic and
straight-forward, has a really classic and heavy tone.
With a decent production, all the key elements for a good
album are in place and now we just need some memorable songs. Although there
are some filler cuts to be found here (“Conjure the Mass” and “Bound to the
Stake” come to mind), Cauldron has written some real winners. “Chained Up in
Chains” is perhaps my favorite, with a great acoustic intro and one of the
catchiest choruses I’ve heard in ages. “Fermenting Enchantress” features,
along with a great title, a slew of cool riffs that flow together perfectly.
“Witch Trail” has a real classic main riff that reminds me of prime Omen or
Jag Panzer. Closing out the album proper is a stellar cover of Black ‘n’
Blue’s “Chains Around Heaven,” though there are also two bonus cuts on the US
release, including the speedy “The Striker Strikes.”
While the traditional heavy metal sound is currently in
one of its periodic resurgences, bands like Cauldron, Enforcer and Crystal
Viper are clearly doing it because they love the music and are bound to still
be around even when trends shift them out of favor again. Chained to the Nite
is a strong first salvo and makes me anxious to hear where they will head from
here.
http://www.myspace.com/cauldronmetal
[Daniel Hinds]
 DARK FUNERAL
Angelus Exuro pro Eternus
(Regain)
Rating - 8/10
Dark Funeral has always epitomized Swedish black metal in
my mind: it is brutal, satanic and with a thicker, more death metal type
production. While Lord Belial might be more creative and Marduk more, well,
prolific, Dark Funeral is an uncompromising force to behold. Plus, could
there be a better band logo? It has a goat (with horns), a pentagram,
upside-down crosses (2 of ‘em!), Old English lettering and even some flames -
beautiful!
The first couple of tracks crash by without much chance
to catch your breath. When Dark Funeral get moving, they are truly a
juggernaut of blast beats, raging riffs and vicious vocals. “Stigmata” begins
with some relief, as a more moderate tempo prevails for a while, allowing the
guitars to create a more sinister atmosphere. “Demons of Five” is another
slower track (slower being a relative term in Dark Funeral’s world), but
things amp up yet again with the ferocious “Declaration of Hate.”
The lyrics are actually fairly comprehensible and cover
topics from the razing of heaven to the joys of suicide to a general hatred
for all things Christian. The most unusual track has to be “In My Dreams,”
which seems surprisingly lovelorn and sentimental. Perhaps there is a more
evil reading to the lyric that I’m missing. It is followed by “Latex Queen”
anyway, a much more physical take on love, to say the least.
Listening to this album back to back with their debut,
Secrets of the Black Arts, it is amazing how little has changed in 13 years.
Aside from better production and a little more presence in the vocal
department, Dark Funeral has remained remarkably true to their brand of brutal
black metal. This is good in some ways but it does feel a bit like the band
is starting to coast with the last album or two and as good as the material is
here, I can’t say it’s as memorable as something like Diabolis Interium.
Still, there is no denying the power and conviction with which Dark Funeral
play and this album is storng enough to keep them at the forefront of the
scene.
http://www.darkfuneral.se
[Daniel Hinds]
 DEIPHAGO
Filipino Antichrist
(Hells Headbangers Records)
Rating - 7/10
Here’s a delightfully horrid mess from Deiphago (I don’t think that “deiphago”
is a real word, but, I digress), a recent discovery of Hells Headbangers
Records from the Philippines (in case you were ever wondering what the
Antichrist’s nationality would be). The trio’s second full-length, “Filipino
Antichrist”, is billed as homage to Bathory, Sarcofago, Hellhammer, and other
dark lords of the old school. Frankly, this album is even sloppier than the
classics, including “Welcome To Hell”, and that’s saying something. What’s
more shocking is that these guys have been around in one form or another, i.e.
playing their instruments, since 1989!
Barely discernable riffing, growls with the vocalist noticeably drawing in
breath from time to time, and drums that sound as if the family’s garbage cans
have been left out in a hailstorm are typical of the “music” being displayed
on “Filipino Antichrist”. Naturally, this is all very enjoyable as a
thoroughly fun exercise in exceedingly rough, 80s-era, bottom-of-the-barrel
blackened thrash metal, and you’ll, no doubt, get a kick out of this for a few
songs. However, there’s not much in the way of musicianship being displayed
here (that’s probably not the point, anyway) and, as fun as this all is,
you’ll probably get bored after a couple of tracks. In addition, because a
sole emphasis on enthusiasm will only get you so far, “Filipino Antichrist”
doesn’t have much staying power. However, I should mention, though, that
despite the lack of focus upon musicianship, the album does have a certain
dark tone of atmosphere that does disqualify the album from the “fun”
category.
At any rate, “Filipino Antichrist” is good way to waste time with a six-pack
of the cheapest beer that you can find, if nothing else. Sort of recommended.
http://www.hellsheadbangers.com/
http://www.myspace.com/deiphago
[Dave Schalek]
 DIE HARD
Nihilistic Visions
(Agonia)
Rating - 8/10
In case the satanic lyrics, band photo, and band name
aren’t a dead giveaway, I think it is safe to say that Die Hard has more than
a passing fancy for Venom. Fortunately, this is far from a mere cloning
operation as this Swedish trio brings in several other influences as well to
create a reasonably original style that is loose and reckless and thoroughly
enjoyable.
“Into the Desolate Halls of Death” makes for a perfect
opener, ripping out some prime, Welcome to Hell-era riffing and a definite
underground Hellhammer vibe. “Hidden Face” shows the band branching out a bit
more, including some punky speed and death influences that carry on in “Bloody
War,” a surprisingly rich track is more complex than one might expect from a
band like Die Hard. Dismember comes to mind on several songs, including the
title cut and “Attack From the Back,” with their more straight-forward, heads
down bulldozing brutality.
Often when bands opt for the old-school thrash black
metal style, they focus too much on the aesthetics and forget that Venom and
Sodom actually had some kick-ass songs buried beneath the bullet belts and
subterranean production values. Die Hard have obviously figured that out and
there are plenty of choice tunes here in all their raw glory.
http://www.diehard.se
[Daniel Hinds]
 ENFORCER
Into the Night
(Heavy Artillery)
Rating - 9/10
Apparently, the NWOBHM never died, it just relocated to
Sweden. Enforcer play a classic, highly energetic brand of heavy metal that
brings to mind outfits like Raven, Jaguar and even early Mercyful Fate at
times. Good songwriting and strong production keep things fresh and Into the
Night rocks pretty consistently from start to finish.
“Black Angel” is a perfect way to kick the proceedings
off, with speedy, slashing riffs and piercing vocals that hit some truly John
Gallagher inspired wails. The bridge that comes in after the second chorus is
pure genius and one of the main Fate moments on offer. “Mistress From Hell”
and “Speed Queen” are even more frantic, reminding me of Megadeth when they
are in jacked-up rock ‘n’ roll mode (e.g. “My Last Words” or “Chosen Ones”).
“On the Loose” has some very Obsession-like vocal lines, while
One thing that I think doesn’t hit home until after a few
spins is that the guitar work on Into the Night is quite extraordinary. The
leads are very fluid and inventive but never overstay their welcome, with some
effective harmony work on a couple tracks. “City Lights” is a nearly
six-minute instrumental where guitarist Adam Zaars really gets to shine.
The album never really slows down much and the lack of
variety might put some off, but fortunately Enforcer manages to keep the song
quality pretty high throughout with no real throwaways. Along with In
Solitude and Portrait, Enforcer has really helped put Sweden on the map for
taking old-school heavy metal and bringing it fully into the 21st
century.
http://www.myspace.com/enforcerswe
[Daniel Hinds]
 FAUST
From Glory To Infinity
(Paragon Records)
Rating - 8.5/10
Opening the package from Paragon Records, I immediately had mixed feelings
about this one. Paragon Records from New York usually has excellent, if
relatively unknown, acts on their roster; however, From Glory To Infinity, the
debut full-length by Italy’s Faust, sports a rather cheesy album cover
featuring a nun with a boob job (sort of a poor man’s version of a Repka). I
wasn’t initially encouraged.
At any rate, I threw this one in without a second glance and forged ahead. To
my great surprise, From Glory To Infinity is exceptionally well-played
progressive death metal with masterful guitars, bass, and drumming. Within
about the first two minutes of the opening track, I was thinking to myself
that the album compares very well with late period Death, and other classic
Floridian bands of the progressive death metal genre such as early Cynic,
Atheist, and so on. The bass is so well done, in particular, that I said to
myself, “This guy’s taking a page from Steve DiGiorgio.” And no wonder. About
halfway through the album, I finally got around to looking at the booklet,
and, sure enough, DiGiorgio is the bassist. In addition, Vader refugee Daray
Brzozowski is behind the kit and it becomes clear that Faust is made up of
some heavy hitters. Obviously, at this point, I really sat up and took notice
as From Glory To Infinity is the best, 90s era progressive death metal album
that I’ve heard in quite awhile. This is an excellent throwback to the days
before “modern” death metal became overly technical, yet moved away from death
metal’s more brutal side.
Clearly, this is a great album, but I do have a minor complaint. Although
loud, guitarist/vocalist Aleister’s vocal delivery is sort of just generic
death metal grunts/burps that really don’t add anything, or take away anything
for that matter, from the music. Take it or leave it, essentially, but,
Aleister more than makes up for this with his guitar work wizardry (along with
two other guitarists), though. Fast riffs, liquid soloing, and acoustical
passages abound throughout From Infinity To Glory, making this a top notch
release all around.
Bad album cover aside, From Glory To Infinity is highly recommended.
http://www.myspace.com/faustband2
http:/braragonrecords.org/
[Dave Schalek]
 FOREST STREAM
The Crown of Winter
(Candlelight)
Rating - 8.5/10
Wow, it is amazing what you forget when you turn 40…
Looking back, I actually reviewed Forest Stream’s debut album, Tears of Mortal
Solitude, back in 2003. My one complaint back then was apparently the weak
vocals, and I’m pleased to say things have improved in that area without
losing ground elsewhere.
Trying to pin down one
specific style that Forest Stream plays is impossible, as they carefully blend
together death, doom, black, goth and folk metal, with plenty of symphonic
keyboards and a combination of clean and gravelly vocals. The results could
easily be a mess, especially with half the songs clocking in at over nine
minutes long, but they pull it off quite superbly.
The title track is a journey
in and of itself, following slow, brooding riffs with clean passages and
textural keyboards, only to set off into stormy weather once again. “Bless
You to Die” and “The Seventh Symphony of…” show the band is capable of harder
and faster material as well, with a hint of early Emperor creeping into the
vocals and riffing. “Beautfiul Nature” is an unexpected left-turn, featuring
some half-spoken stream of consciousness lyrics and dreamy melodies.
Forest Stream are good at
infusing their metal with drama and melody without sounding silly or wimpy.
It is serious music that is dark yet beautiful and sweeps the listener away
into its own richly emotional world. The Crown of Winter not only matches
their impressive debut but fully surpasses it in every way.
http://www.forest-stream.com
[Daniel Hinds]
 FURIA
Grudzien za grudniem
(Pagan)
Rating - 8/10
This Polish outfit (which is basically four-fifths of
Massemord) have conjured up a rather unique black metal brew on this, their
second full-length effort. The mixture threatens to fly apart at a few points
but always manages to stay cohesive.
“Jeszcze i jeszcze” kicks off in a very low-key manner,
all strung-out clean guitars, but eventually shifts into high gear with icy,
high-speed riffs and relentless drumming. Several tempo shifts chart the
track’s convoluted course before it ends abruptly, leading straight into “Zgnilem.”
This one starts off seemingly more straight-forward but quickly incorporates
some more experimental folk passages and, near the end, off into a jazzy
netherworld. “Przechrzczony” reminds me of early Usurper for some reason,
with a very angry Celtic Frost influences burning through. The cleverly
titled “ ” contains some of the more restrained and melodic moments on the
album, though no less grim or dark. The album closes with a ten-minute
exercise in agony called “Kim jesteś?” It neatly covers the whole range of
Furia’s style, from forlorn to hostile, chaotic to serene, without losing the
plot for a second.
Often vocals are what make or break black metal bands and
Furia are fortunate to have Nihil, who can spit out the all-Polish lyrics with
the requisite venom, adding some shrieks and death grunts as necessary. Since
my knowledge of foreign languages ended about two terms into Japanese, I can’t
tell you what any of these tunes are actually about, but with titles that
translate to the likes of “I Rot” and “Dusk After Dusk,” it’s safe to assume
they aren’t love songs.
It seems like a lot of bands in the underground black
metal scene either kill themselves trying to be as experimental and obscure as
possible, while others set out for sheer brutality and simplicity. Furia
manage to take just the right elements from each camp and to keep things
interesting, unexpected but moving along at all times.
http://www.let-the-world-burn.org
[Daniel Hinds]
 GORGOROTH
Quantos Possunt Ad Satanitatem Trahunt
(Regain Records)
Rating - 7/10
I find Gorgoroth to be great fun. The members, and ex-members, of Gorgoroth
are no shortage of entertainment with their well documented regimen of
extracurricular activities. Whether those activities be legalities involving
the acrimonious breakup of the band, lurid stories involving the violation of
the obscenity laws of nations of the Roman Catholic persuasion, and
revelations about sexual orientation, Gorgoroth pretty much have cornered the
“tabloid black metal” market these days. So much so that the band veers
dangerously close to caricature, in my opinion.
At any rate, the band’s legal issues appear to be in the past with Infernus
firmly in control of the band’s name and copyright. Never mind that he’s the
only remaining member since the monstrous “Ad Majorem Sathanas Gloriam”,
Gorgoroth’s last full-length from 2006 (and my number one album from that
year), although he has now been joined by on again/ off again members Tomas
Asklund on drums and Pest on vocals. Rounding out the new lineup is Obituary
bassist Frank Watkins, aka Boddel, and the quartet have now released the
anticipated “Quantos Possunt Ad Satanitatem Trahunt” on Regain Records.
Regardless of the tabloid nonsense, in the end, the music is what speaks the
loudest, and I must say that I am disappointed with what I’ve heard on
“Quantos…” The musicianship, songwriting, production, and so on are all top
notch, as you would expect from a professional outfit, but the music just
sounds tentative. What is noticeably lacking, so much so it is inescapable, is
a feeling of pure viciousness. The album is so clean and sterile, the songs so
close to traditional heavy metal with melody, that all sense of violence,
danger, and unease are simply absent. Things do get off on the right footing
with an up tempo, droning opener that is as close to raw black metal as the
album gets. After that, however, most of the songs, though good in a purely
musical sense, veer so far away from black metal, that you’d be hard pressed
to refer to “Quantos…” as a genre album. Pest’s vocals are adequate, though
different from Gaahl’s delivery, and are seemingly out of place on an album
that is simply too clean. I am reminded of “Incipit Satan” by this album, but
even that album still retained Gorgoroth’s signature malevolence, even with
its comparatively clean sound.
Perhaps I’ve just missed the point with “Quantos…”, but I’ve always come to
expect a vicious assault from Gorgoroth. Unfortunately, that assault is simply
not present. I await the reply from Gaahl and King.
http://www.regainrecords.com/
http://www.gorgoroth.info/
http://www.myspace.com/gorgoroth
[Dave Schalek]
 HORISONT
Två sidor av Horisonten
(Crusher)
Rating - 8.5/10
This disc has been sitting here for a while and I felt I
had to review it because (a) I never got a chance to in Outburn and (b) it is
awesome! This Swedish five-piece plays an intriguing mix of 70s styles that
sounds remarkably fresh and nostalgic at the same time. Hints of everything
from Blue Cheer to early Thin Lizzy to even some of the more esoteric NWOBHM
bands all shine through without imposing on Horisont’s own strong identity.
Right off, you are transported back in time by the very
straight-forward production and mix, with prominent basslines and
stereo-panned guitars that are often off exploring their own path to the same
destination. Case in point is “The Unseen,” where the mood shifts from a
driving, almost 60s rock feel (think Lonsome Crow-era Scorps) into a heavy,
half-time riff that brings to mind Pentagram’s early work. Axel’s vocals (no
last names apparently) has a fairly high and clear voice and does a lot to
give the band its own identiy, even if half the lyrics aren’t in English.
Although the blues influence comes out pretty strongly on
cuts like “Horisont Boogie,” it is the leadwork where it really becomes
obvious. While many might lump them in with the stoner or psych crowd, the
music is generally a little too direct and structured to fit there
comfortably. The six+ minute “Efter Min Pipa” comes closest, though it is
more in the vein of Sabbath’s cosmic excursions or perhaps even sHEAVY’s. And
while songs like “Visa Vägen” and the aforementioned “The Unseen” have their
weighty moments, this is one of those rare album that really rocks without
being overly heavy.
It’s amazing how worth it it is to wade through the slew
of uninspired and poorly constructed releases that come in every week to find
a total gem like Horisont. Anyone with a love for 70s rock in all of its
various forms will be more than glad to pick up a copy of this disc.
http://www.myspace.com/horisont
[Daniel Hinds]
 IHSAHN
After
(Candlelight)
Rating - 8/10
It’s hard to believe that after Emperor’s increasingly
grandiose compositions and Peccatum’s quirky experimentality Ihsahn could
actually create music more progressive and inscrutable, yet he has done that
with each of his solo efforts, The Adversary and angL. 2010 brings us disc
number three, After, and I would go so far as to say it’s the most intricate
and out there album of them all.
“The Barren Lands” lays it all out right away, showcasing
some incredible musicianship and enough change-ups to keep Opeth fans on their
toes. Learning that Norway’s prog-masters Spiral Architect have loaned their
rhythm section to Ihsahn isn’t too surprising, though the introduction of
saxophonist Jorgen Munkeby on the hectic “A Grave Inversed” manged to raise an
eyebrow. The somewhat chaotic playing is a little distracting at first but
actually fits rather well, as the song is rife with blastbeats and some of
Ihsahn’s most intense riffing since the Emperor days. The title cut brings
things back down to earth, with some subtle, clean vocals and a more
restrained pace, though even here a major change-up kicks in halfway through.
“Undercurrent” is one of the two 10+ minute tracks and encompasses the
expected number of tempo and mood shifts and includes some more restrained use
of the saxophone, though the arrangement feels a bit induelgent by the end.
“Heavens Black Sea” stands out with a unique, driving drum beat and extended
sax solo in the middle, and the album closes with “On the Shores,” another
ten-minute epic that again could/should have been tightened up a bit.
Ihsahn’s vocals have always been pretty unique but they
seem to take on something of a grating croak on the last couple of solo
albums, to the point where I couldn’t even listen to angL without being
annoyed by it. Happily, he has either toned it down a bit or the mix on After
is better because, although his singing isn’t radically different, it is far
more palatable.
With the legacy of Emperor, it is nice to see Ihsahn
isn’t just resting on his laurels or trying to live in the past. After is yet
another creative collection of tunes that mix metal styles from the melodic to
the brutal, the progressive to the extreme, and easily his best solo record
yet.
http://www.ihsahn.com
[Daniel Hinds]
 IMMORTAL
All Shall Fall
(Nuclear Blast)
Rating - 9/10
True darkness fell upon the metal world in 2003 when the
mighty Immortal announced their own demise, just as they had unleashed their
mightiest album to date, Sons of Northern Darkness. The release of Between
Two Worlds under the I moniker in 2006 helped ease the pain but it wasn’t
until announcement shortly thereafter of a full-on Immortal reunion that the
hordes could truly rejoice.
Here we are three years later and the long-awaited
reunion album is upon is. Like any project with that much time and hype
behind it, the reality is never going to completely live up to all
expectations. Is it as classic as dark as Pure Holocaust, as classic as At
the Heart of Winter or as brutal as Damned in Black? No, no and no, but taken
on its own merits, it is still a damn fine record that only serves to further
solidify the Immortal legacy of quality Nordic black metal.
The title track gets things underway and it is evident
immediately that the Immortal sound is still fully intact. “The Rise of
Darkness” follows in similar style, featuring some of the album’s coolest
riffs, while “Hordes to War” is rather stark, straight-forward thrasher that
really showcases the band’s more ferocious side.
The first ‘epic’ song is “Norden on Fire,” building on a
glorious, mid-tempo riff straight out of Bathory’s Viking handbook. A stellar
track that even features a rather ripping guitar solo. “Arctic Swarm” is
probably my least favorite track here, as it features some oddly clunky riffs
and a somewhat incomplete-sounding arrangement, but “Mount North” quickly
follows and makes everything right again. Featuring several rich, melodic
riffs, the track soars with the kind of grace and shadowy beauty that only
Immortal can deliver.
Still, the pièce de résistance is saved for last, the
suitably titled “Unearthly Kingdom.” Much like “Beyond the North Waves” on
the last album, this 8.5 minute slab of frozen grandeur that starts off
massively and grinds forward without mercy. Halfway through, Immortal kick
the tempo up considerably, proving that speed and epic songwriting are not
mutually exclusive.
The atmosphere that surrounds All Shall Fall is a bit
more opaque and just downright icy than their more recent material, reminding
me more of the first couple of albums. It also makes for a less immediately
catchy or memorable album, but an album that entices one to listen again, a
little bit deeper, and bodes well for its longevity. While the band Immortal
may not live up to their namesake in the long run (well, how could they
really?), albums like All Shall Fall certainly seem destined to.
http://www.immortalofficial.com
[Daniel Hinds]
 INVASIVE COMMAND
Ride… Invade… Kill… Conquer
(Blackmetal.com)
Rating - 7/10
The last couple of reviews that I’ve written have been
for some fairly sophisticated material, and, every now and then, you just want
to be flattened by something simple and straightforward. Philly’s Invasive
Command more than fit the bill for this purpose with dirty, stripped down war
metal descended from early Sodom (circa “Persecution Mania”, but with
considerably less polish) and like-minded simplicity.
Issuing their debut full-length on Blackmetal.com
Records, the succinctly entitled Ride… Invade… Kill… Conquer, Invasive Command
keep it simple with some primitive war thrash with a generally fast-paced
thrash metal gallop and plenty of crushing dirges. About as subtle as a
Sherman tank, Invasive Command feature a dirty production, simple riffing, a
suitably low-fi sound, military samples and photos galore adorning the
booklet, and shouted vocals. Strangely enough, there’s a fleeting moment of
melody or two, but nothing about Ride… is original or sophisticated by any
stretch of the word. However, I found this album more enjoyable than the
recent full-length from At War, an obvious influence, as Invasive Command
possess the enthusiasm of youth that might be lacking in older bands treading
well worn ground.
As an added bonus of sorts, the geniuses at
Blackmetal.com have also decided to include Invasive Command’s second demo for
you collectors out there, a three-song affair entitled Hell In A Handbasket. A
nice touch to a generally solid, if unoriginal release.
http://www.myspace.com/invasivecommand
http://www.blackmetal.com/
[Dave Schalek]
 KING DIAMOND
The Spider’s Lullabye (Rating - 5.5/10)
The Graveyard (Rating - 6/10)
Voodoo (Rating - 8.5/10)
House of God (Rating - 8/10)
(Metal Blade)
When King Diamond bailed from Roadrunner (or vice versa?)
and signed to Metal Blade, I think a lot of people kind of lost track of his
work. Granted, none of his work since has equaled the lofty heights of albums
like Abigail or The Eye, but none have ever outright sucked either and there
are some real gems to be had. Metal Blade has given this period a second
chance here with meticulously remastered versions of the first four discs with
their imprint.
The Spider’s Lullabye is a tough one. Following the lush
and all-around classic The Eye, it seems very pale in comparison. The concept
only covers the second half of the record and is frankly simplistic and silly
by King’s usual standards. The album kicks of well enough, with “From the
Other Side” boasting a killer main riff and one of King’s most memorable
choruses ever, but it all heads downhill from here on. “Killer” has potential
but is a little too samey all the way through and “The Poltergeist” sounds
like a bad outtake from The Eye. “Dreams” is a great example of the kind of
King Diamond songs I dislike, where his vocal lines follow the main riff just
a little too closely, sounding very stilted in the end. “Six Feet Under” has
its moments but leads straight into the four-song spider suite, which the less
said about the better.
The Graveyard has its own set of problems but at least
the story that runs through the album is well thought-out and features some of
the darkest moments on any KD record. Musically, the album does not fare as
well, with most of the tracks sounding a little too familiar or just plain
tired. “Heads on the Wall” is the one real high point, as it starts with a
slow, clean guitar that builds very effectively along with King’s vocals up to
a very impassioned chorus. The sense of eeriness that often gets a little too
schlocky elsewhere really comes through on this one. “I’m Not a Stranger” and
“I Am” also offer some fairly memorable moments (the latter featuring some
Hammond organ Black Rose flashbacks), but getting through all 14 songs feels a
bit more of a chore by the end.
After two rather disappointing efforts, it came as
something of a surprise that Voodoo was as good as it was when it landed in
1998. The cover art was even a return to the gorgeous paintings of earlier
albums (the Spider’s Lullabye and The Graveyard covers weren’t exactly
artistic triumphs). Since I already reviewed that album elsewhere on The
Plague, I will only say that, if anything, it sounds even better now than it
did then.
House of God was a more than worthy follow-up, too.
Musically and production-wise, it is nearly as good as Voodoo, with “The Trees
Have Eyes,” “The Pact” and “Help!!!” featuring some particular strong riffs
and vocal lines. While perhaps not as diverse as Voodoo, it does have the
same ability to never really lose steam despite a long running time.
Lyrically (or maybe I should say conceptually), House of God is quite possibly
King’s most interesting work to date. It has a very creepy and surreal feel
to it with a distinctly Lovecraftian vibe beneath it all.
King Diamond has detailed in the press how much care went
into remastering these albums and it definitely shows. While some might be
disappoint by the lack of extras, it is just nice to have these releases back
in the spotlight and sounding better than ever.
http://www.covenworldwide.org
[Daniel Hinds]
 MÅNEGARM
Nattväsen
(Regain)
Rating - 8.5/10
Having existed since 1995, Sweden’s Månegarm definitely
qualify as one of the longest-running pagan/Viking metal outfits on the
scene. Somehow I have managed to totally miss them until now, but based on
this release, I definitely have some research and shopping to do soon.
The folk element is strong with Månegarm, thanks in part
to having a full-time member responsible for flute, cello and violin. Even
more importantly, however, is the band’s ability to write simple, bouncy and
instantly catchy melodies. “Nattsjäl, Drömsjäl” was literally stuck in my
head after just one listen. Another key element is the use of clean, majestic
vocals to balance out the predominantly gruff and deathy vox. For those
looking for something a bit darker, “Vetrarmegin” mixes in some fast and
brutal black metal quite effectively. It is nice that Månegarm has mastered
the skill of making songs sound epic without dragging them out needlessly,
with most tracks falling into the 4-6 minute range. “Delling” closes the
album perfectly, in full-on acoustic folk mode.
The popularity of the Viking/folkbragan genre seems to
continue to grow at a slow but very natural pace and there are quite a few
quality acts out there right now. Fortunately, Månegarm can count themselves
among the best and Nattväsen is a solid, atmospheric and thoroughly memorable
collection of tunes.
http://www.manegarm.com
[Daniel Hinds]
 MARDUK
Wormwood
(Regain Records)
Rating - 9.5/10
The transformation of Marduk, which began with the departure of Legion, is
complete. Since the recruitment of Mortuus, Marduk have reinvented themselves,
and the release of “Wormwood” showcases the band as an entirely different
animal from the days of Legion. The shift is subtle, though. Prior to Legion’s
departure, Marduk had dabbled in basic divergence from their patented formula
of balls out, fast black metal, but the band’s experimentation with mood,
groove, and atmosphere was, in retrospect, seemingly a bit tentative. Albums
such as “World Funeral” and so forth are good and were well received, but even
“Plague Angel” and “Rom 5:12”, the first two albums with Mortuus, were merely
a warm up for the mature work of “Wormwood”.
Marduk are still, at heart, a fast black metal band concerned with brutality.
Mind numbing power and blastbeats galore are still present in spades. However,
wonderfully, and seamlessly, mixed in are hard hitting dirges of a slower pace
that drip with power, and eerie, atmospheric touches that involve some
wonderful bass work from Magnus Andersson (not to mention his masterful
production, delivering an album that just seethes) and the truly awesome vocal
delivery of Mortuus. Mortuus’ vocals hit just the right note; that is, besides
the obvious power, his vicious growls truly allow Marduk to transcend from a
fast black metal band to an almost primal force. His vocals are that good and
I believe him to be perhaps the best vocalist in black metal today.
Besides the vocal highlights, what separates “Wormwood” from its immediate
predecessors is the songwriting. The songwriting is the perfect match for
Mortuss’ vocal work; that is, the vocals and the music share the glory equally
with well written songs. The all out blasts, the dirges, and the atmosphere
are all of the just the correct length and propel “Wormwood” to the top of the
black metal pedestal.
Album of the year? I’ve already said the same thing about “Maranatha” by
Funeral Mist, Mortuus’ alter ego, and “Wormwood” is the perfect companion
piece. The albums sit side by side.
http://www.regainrecords.com/
http://www.marduk.nu/
http://www.myspace.com/truemarduk
Post script: I should mention that, with the debacle of last year’s Blackened
Fest as the tour went up in flames, I doubted that Marduk would play the
United States. To the band’s credit, they have kept their word and I look
forward to their performance.
[Dave Schalek]
 NAHAR
La Fascination du Pire
(Avantgarde)
Rating - 7.5/10
Nahar are new to my ears and frankly I didn’t even know
Avantgarde was still around (yes, I’ve been out of the loop a bit lately…).
Anyway, it’s good news on both accounts. Avantgarde has always brought us the
more creative and controversial end of the metal spectrum and Nahar seem to be
a good fit.
Opening with “In Red Light Perdition,” the band (well,
two guys anyway) sound more like a dark ambient project than black metal, but
that quickly changes as “Face of Extinction” kicks in. The drums are somewhat
buried but add some rhythm to the guitar washes and gravely, semi-drone
vocals. “Where Others Have Drowned” follows in similar tradition, closing
with about a minute of etherealness worthy of SPK’s more esoteric works.
“Millennium’s Echo” is positively sepulchral in its morbid doominess, while
“The March of No Reason” is just plain evil-sounding. The album closes with
an untitled track that is a churning mass of icy darkness, as good as anything
else on the record.
Nahar manage to walk that fine line between primitivism
and elegance, without losing the dark atmosphere required for truly effective
black metal. While it didn’t move as much as other experimentalists like
Leviathan or Wolves in the Throne Room, there is an undeniable quality to
Nahar’s music that invites repeated listenings.
http://www.myspace.com/shaddarnahar
[Daniel Hinds]
 SAMMATH
Triumph in Hatred
(Folter)
Rating - 6/10
This is my first encounter with these Dutch black
metallers, but they’ve actually been kicking around since 1995 and have three
previous albums to their credit. While credit must be given for creating an
intense, blistering style, Triumph in Hatred left me rather flat overall.
Part of the problem is the lengthy songs (most clocking
in around six minutes) with only a handful of change-ups to break things up
throughout. Add to that a one-dimensional vocalist with a retching style that
gets old fast and it begins to feel more like a chore than a pleasure to
listen. The mediocre production and fairly generic riffs only speed one to
this conclusion.
Having said all that, though, I will say two things in
the band’s defense. First off, the lead guitar work which adorns pretty much
every track is quite phenomenal. It’s rare to hear that much soloing on a
black metal album to begin with, let alone of such quality. Secondly, Sammath
do manage to create a pretty grim atmosphere out of sheer relentlessness and
brutality.
One final note: the album art is quite cool so if you do
decide to buy this, I’d say grab one of the vinyl copies for maximum impact.
http://www.sammath.nl
[Daniel Hinds]
 SAVAGE MESSIAH
Insurrection Rising
(Candlelight)
Rating - 8.5/10
While a lot of thrash bands I’ve heard lately have had
their hearts in the right place, the tunes just weren’t there or some element
was sadly lacking (usually the vocals). The UK seems to be providing some of
the more quality acts, which is cool since it produced two of my all-time fave
thrash acts, Sabbat and Onslaught. Savage Messiah hails from London and
definitely live up to the fine tradition of past British thrash masters.
As the title cut quickly sinks its teeth in, it is clear
the band knows how to play as well as write well-structured thrash songs.
Vocalist Dave Silver has a very versatile voice, able to convey power without
losing the melody. Testament is probably the most obvious references point
for much of the album, though classic Metallica comes to mind on the more
elaborate “In Absence of Liberty.” Though they never sound like Onslaught,
they share the same gift for being able to skillfully arrange their songs,
making them sound complete without sounding repetitive.
Honestly, there isn’t anything on this record that is
lacking. Some songs are better than others but none sound like filler. The
playing is tight with some excellent guitar-work throughout. Chris
Tsangarides delivers his usual top-notch production job, further elevating the
album from the masses and giving it a very professional, classic sound. All
in all, Savage Messiah is a welcome addition to the thrash scene and
Insurrection Rising is a powerhouse record they can be proud of.
http://www.myspace.com/savagemessiahmetal
[Daniel Hinds]
 SECRETS OF THE MOON
Privilegivm
(Lupus Lounge)
Rating - 8.5/10
Germany’s Secrets of the Moon return with their fifth
full-length, entitled “Privilegivm” and released on Lupus Lounge Records (The
AJNA Offensive has a hand in this somewhere, as well). Now sporting a lineup
devoid of the band’s original members, Secrets of the Moon play a form of
dark, black metal similar to acts such as Merrimack and, to a lesser extent,
Satyricon and Pantheon I. “Purists” will undoubtedly endlessly debate the
black metal credentials of bands treading ground in this clean aspect of the
black metal genre with a well-produced sound, but, I, for one, find that
Secrets of the Moon’s form of black metal is darkly rich in textures and tone.
Taking a very clean sound as a starting point, Secrets of
the Moon add layers of mood with instrumental pieces incorporated into long
songs formed around more traditional elements. The traditional forms appear as
rasps, a range of tempos including a few blasts, and a malevolent atmosphere.
A few black n’ roll moments are present with some definitely rock-oriented
riffs and tempos (taking a page from Satyricon and like-minded acts), but
Secrets of the Moon possess a feel to them, courtesy of atmospheric setting,
that just rings true, perhaps more so than the latest releases from Merrimack
and Pantheon I. While I enjoyed those releases, Secrets of the Moon’s enhanced
levels of atmosphere on “Privilegivm“ add a certain richness to the tones that
“Grey Rigorism”, the latest full-length from Merrimack, seems to lack, for
example. This quality is a bit hard to describe and is somewhat difficult for
this listener to put his finger on, but this is the vibe that I get from “Privilegivm”.
An impressive aspect to “Privilegivm” that simply must be
addressed is the very sophisticated photography and layout, courtesy of French
media artist Metastazis. The digipack of “Privilegivm” contains incredible,
mood setting photography that greatly complements the stunning cover photo.
The album’s mood of sophisticated black metal begins with the core of the
apple, the darkest shade of black.
A stunning, high quality work of black metal art,
“Privilegivm” is highly recommended.
http://www.lupuslounge.com/
http://www.myspace.com/secretsofthemoon
[Dave Schalek]
 TEMPLE OF BAAL
Lightslaying Rituals
(Agonia)
Rating - 7.5/10
France probably has one of the strongest black metal scenes today. Deathspell
Omega, Merrimack, Antaeus, Blut Aus Nord, and so on, the list of quality,
original black metal coming out of France seems endless. Every now and then,
though, an excellent band will be overlooked, if for no other reason than just
not being terribly original. Case in point is Temple of Baal, a blackened
death metal band from France that can be pretty easily labeled as a Marduk
clone.
“Lightslaying Rituals” is the third full-length from
Temple of Baal, and first since 2005, and is released on the Polish label
Agonia Records. The comparisons between Temple of Baal (numerous band members
serve time in a veritable who’s-who of quality French black metal acts) and
Marduk are well deserved. Huge, thick production abounds on “Lightslaying
Rituals” with well written songs that mostly focus on ripping your head off
with straightforward blasts. There are also the requisite slower moments with
huge amounts of crunch, a loud bass, powerful vocals, and even a fleeting
moment or two of melody. Rather than just being dismissed as a mere clone,
though, Temple of Baal save themselves with well written, catchy songs that
give the album some staying power. The huge production definitely helps, as
well, as the album just seethes.
Given the high quality of Marduk’s last couple of full-lengths, you’d be
hard-pressed to say that Temple of Baal are close to challenging Marduk for
the throne with “Lightslaying Rituals”. However, “Lightslaying Rituals” is a
good album that will be appreciated by anyone with an interest in powerful
blackened death metal. Recommended.
http://www.agoniarecords.com
http://www.myspace.com/templeofbaal
[Dave Schalek]
 URGEHAL
Rise of the Monument
(Folter)
Rating - 6.5/10
This barbaric Norwegian outfit has been incredibly
prolific over the years and this release takes us back to (almost) the very
beginning. The first seven tracks are taken from the 1995 demo Rise of the
Monument, while the remaining nine were recorded live at Under the Black Sun
Open Air festival in 2008.
Let me preface my review by saying that my only real
contact with Urgehal in the past was the Through Thick Fog till Death disc,
which impressed me but didn’t blow me away. The demo material here sounds
very much like a demo recording - very thin drums, even thinner guitars and a
murky mix to say the least. Lots of fast, tremolo picking and fairly
repetitive arrangements are the order of the day, though they carry it off
reasonably well even this early on.
The live recordings have more bass but are somehow even
murkier, with all of the instruments submerging into one mass distinct only
from the vocals. It literally sounds like it was recorded with a walkman from
the back of the venue. The stage raps and crowd noise are sadly more
decipherable than any of the actual songs. If you listen hard enough, some
interesting guitar work does makes its presence known… barely.
While Urgehal is clearly a band that enjoys the kvlt
aesthetic that encompasses the early work of Satyricon and Darkthrone, even by
those standards, this material is quite primitive. But again the main point
here is to make this early demo available again to the general public and it
does make for an interesting glimpse into the band’s formative years.
http://urgehal.com
[Daniel Hinds]
 WHIPLASH
Unborn Again
(Pulverised Records)
Rating - 5/10
The return of thrash metal bands of yesteryear continues
with “Unborn Again” from New Jersey’s semi-legendary Whiplash. Incidentally,
it seems as if the releases from these recently rejuvenated bands giving it
another go are alternating between Heavy Artillery Records and Pulverised
Records (the label releasing “Unborn Again”).
At any rate, Whiplash first appeared during the heyday of
thrash in the mid 80s, and I recall enjoying their first two full-lengths,
“Power And Pain” and “Ticket To Mayhem”, which consisted of no-frills,
straight away thrash metal. Whiplash failed to impress me with their third
full-length, “Insult To Injury”, though, and I basically lost track of the
band. To be honest, I haven’t listened to Whiplash since those days as I ended
up selling my vinyl copies of the first three albums prior to jumping into
graduate school (sacrilege, I know). Whiplash did release a few more albums,
but haven’t been heard from since 1998.
Flash forward to the current thrash revival, and, sure
enough, Whiplash reappear with founding member Tony Portaro at the helm and
some good cover art with a carnival theme on “Unborn Again” from Ed Repka. To
be honest, with “Unborn Again”, I was more or less expecting a beefed up
Exodus clone, as has been the case with Onslaught and a few others. Modern
production values are present with “Unborn Again” (courtesy of Harris Johns;
now there’s a blast from the past), but the album is definitely not what I was
expecting. Instead of modern thrash, or even a throwback to a mid to late 80s
style with aggression and snarl, what “Unborn Again” most closely ends up
resembling is a sped up version of late NWOBHM. In fact, given that most of
the music sounds like an up-tempo version of Judas Priest and early Iron
Maiden, describing Whiplash as speed metal, as opposed to thrash metal, is
probably more apt. Most of the songs are decent enough and well played (a nice
cover of the Montrose classic “I’ve Got The Fire” is included, as well as a
couple of guest solos from Frank Blackfire), but the big problem with “Unborn
Again” is the lousy vocal delivery from Portaro. The vocals lack any punch
whatsoever, seem to be much higher pitched than what I remember, and ruin
“Unborn Again” for me, plain and simple.
Once again, I’m mostly disappointed with the reappearance
of yet another band from the heyday of thrash metal.
http://www.myspace.com/whiplashusa
http://www.pulverised.net/
[Dave Schalek] |
|
