Raventale

      One of my fellow scribes summarized his distaste for atmospheric black metal as follows: “Whenever someone mentions atmospheric black metal, I automatically know that there is going to be a lot of standing around and doing nothing”. While this is applicable to most of today’s bands that overdo the repetition part, not all bands can be generalized like this. Done right, this form of music can result in something grim and beautiful. Case in point is the new record from Raventale, titled ‘Dark Substance of Dharma’. The seventh full length from this Ukranian one man project takes a thematic shift towards Indian and Tibetan philosophy, and the music showcases a fine balance of atmosphere, synth melody and guitar riffs.

Starting with familiar sounds of nature in ‘Intra-Mantra’, the whisphered words add a mystic flavour and sets the mood for the rest of the record. The guitar tones slowly and steadily emanate to the ritualistic beat of the drums, creating an occult atmosphere. The subtle synth work provides the melody and imparts a soothing character to the music, which though contrasting, works well with the harsh guitar work.

Many of bands playing this style of music, produce music that is quite one dimensional, focusing on the atmosphere alone. Raventale on the other hand, takes cues from the likes of early Burzum and Drudkh and the music has a harsh side to it. The repetitive guitar riffs and melodies find measured usage which proves very effective. On tracks like ‘Destroying the Seeds of Karma’, the guitars tend to take a softer approach, contributing to the atmosphere, while the title track sees the riffs taking the centre stage. The band’s vicious side is revealed on the track ‘Kali’s Hunger’, where the black metal chaos is unleashed in short span of 3 minutes. This variation is what sets Raventale apart from the monotonous herd.

Black metal is known for it’s repetitive riffs, the whole point of which is to nail the idea deep into the listener’s head. But when not done in the proper way, it can be very annoying. In Raventale’s case, the repetitiveness doesn’t feel cumbersome at all. The atmosphere, coupled with acrid vocal work and the mystic tone of the music makes even the longer tracks enjoyable. There are a couple of instances, however, where a wild breakdown appears (‘Last Moon Fermata’ and ‘Dark Substance of Dharma’) and these little bits feel very out of place. Then again, these are very small bits and are nowhere near enough to disrupt the experience of the album as a whole.

The album has a rich, layered sound which aids the atmosphere really well. The subtle synth and the abrasive guitars are just perfect in the mix. The duality of the soft atmosphere and the harsh guitars is showcased very well in the music. This combination makes the music sound vile and beautiful at the same time. It’s hard to come across a band that balances soothing, beautiful atmosphere with vicious guitar work as effectively as Raventale. 

The band seems to be going strong with seven full lengths to their credit, each maintaining a level of consistency. ‘Dark Substance of Dharma’ is a solid addition to the Raventale catalogue and is a good jump in point as any other record in their discography.

Rating: 80%

Courtesy of Metal Gallows 

Deuil - Shock/Deny

This morning, I took a bit of a tumble down the rabbit hole.  Except instead of finding opium-smoking insects and mentally ill hat proprietors, the charred landscape was filled with perverse creatures beyond comprehension.   Thus is the not-so-whimsical world of Deuil, a black metal act out Liege, Belgium.  With only two roughly 30 minute EP’s on bandcamp, Deuil follows the same less-is-more philosophy that has worked well for rising acts like Malthusian.  What Shock/Deny may lack in girth, it makes up for in palpable atmosphere.

But make no mistake, this is not the cheerful, indie-riff-infused “atmospheric black metal” that seems to become ever more popular these days.  No.  This is a lone walk through a dark, twisted forest.  A gaze into the abyss.  Deuil harken back to the early days of Burzum, where lengthy compositions were filled with equal parts malice and mystique.  Not post-rock and meditative catharsis.

To grossly oversimplify, Shock/Deny has two modes: groove-driven trudges and tremolo-blastbeat frenzies.  The former is highly focused on riff, with layered guitars and crunchy basslines.  The rhythm parts maintain a trance-inducing focus on time with which one can’t resist bobbing their head.  The lead guitar then takes this hypnosis to the deranged with simple, circular picking patterns that stick in the mind.  “Deny” is arguably quite doomy with its molasses pacing, sustained bass notes, and even some female spoken-word.  There are also some brief ambient sections at the open and close of “Shock” that would have been right at home on a Silent Hill game soundtrack.

When things pick up pace, and they will, transitions are quite smooth.  Almost Tool-ish delay effects give way to pounding drums and walls of distortion.  Jangly guitars a la early Gorgoroth or Taake threaten to wear the pick down to a nub with their speed and ferocity.  While these segments are extremely melodious, you can leave your fedora at home, because Sunbather this ain’t.  The emotions I find myself awash in are those of grief, sorrow, and regret.

I have to say that Shock/Deny is a marked step up from the previous Acceptance/Rebuild.  The polar-opposite album title is a pretty strong indicator of the shift.  Compositions have been tightened up greatly with memorable hooks, fetching drums, and above all, more powerful vocals.  Deuil have dropped the under-produced, distant howls for sickening wretches more comparable to Melechesh or even Indian.  Front and center, this added presence completes the increased focus on the evil and unhinged.

Final word: skip the McDonalds today and spend your 5 Euro on this album.  It’s rich with atmosphere, tightly constructed, and highly emotive.  I think those who enjoyed the Akhlys debut this year will also find much to revel in with Shock/Deny.  Also recommended for fans of Burzum, Leviathan, and perhaps even Lord Mantis.  Here’s hoping Deuil only continue to grow and mature in the years to come. You can stream and purchase the album HERE.

Enjoyability=9
Musicianship=8
Innovation=8
Overall=8.5

Akhlys - The Dreaming I

I don't know why it has taken me so long to put this one up.  This album succeeds in creating a  palpable atmosphere: one that is inspired by the nightmares of Naas Alcameth (Nightbringer). Despite having only a few tracks, there are some great ups and downs and real progressions within their meaty runtimes. While I would have liked to see just a little more finesse in the guitar-work, there were some truly chilling uses of simplistic hooks as with the high-pitched ringing tones that recur throughout personal favorite, "Consummation." The synth work is also very layered and quite beautiful. Repeat listens definitely led this to grow on me. I would be more than happy to throw down for its bandcamp digital pricetag of 6.66 Euro, but I am personally holding out for an affordable copy of the digipack for this gorgeous cover art.  I'm in the US, so it's only the shipping that kills me.  You may see a full review for this at some point.

Enjoyability=8.3
Musicianship=7.7
Innovation=8.5
Overall=8.5

Alaskan (Ontario)

Making a 180 in intensity here. I've always wanted to go to Canada, but I perhaps unfairly never think of them as a country known for metal.  Sure, they have their share of heavy-hitters, but most people are going to think places like Sweden and Norway.  Enter Alaskan.  Very chill, but deceptively technical post metal full of imagery and feeling.  I listen to this album and I picture myself as one of the people on the cover.  I feel the cold wind as I pull my jacket tighter.  The ocean mist hits my face with the smell of fish and salt.  The boat rises and falls with each wave.  I would liken it a bit to Altar of Plagues striking a balance between what I found to be too repetitive of their early releases without experimenting quite as much as their final album.  Yet another pay-as-you-want.  Who says great music has to hurt your wallet?

Clouds

Clouds are an international Atmospheric Doom Metal band with quite the star presence. Featuring members from Hamferð, Panthiest, Shape of Despair and other Doom bands, this is the ultimate collaboration. The atmosphere is simply suffocating with layering of melancholic synthesizer that you could just drift away to. I believe this is a substantial release capturing all the beauty and essence that each of these bands posses and combining it all into one. The clean vocals are tastefully done and mesmerizing and growls as powerful can be. Thank you Clouds, for releasing for releasing such a spectacular piece of music. Bravo!

Discography

The Great Old Ones

 

Heavily influenced by the writings of HP Lovecraft,  this post-black Metal outfit returns with their Sophmore output. I was initially blown away by the musicianship, and dense atmosphere with their debut and their follow-up does not disappoint. They delve deeper into the Lovecraft stick and create a perfect balance of rich atmosphere and aggression. Listen, reflect, enjoy. 

 

 

The Great Old Ones 

 

 

Mare Infinitum

 

Mare Infinitum is a collaboration consisting of A.K. iEezor from Comatose Vigil and Homer of Who Dies in Siberian Slush. Mare Infinitum in a way could be considered the offspring seeing elements are taken from each individuals respective projects. The crushing  riffs, and stagnant pace of Comatose Vigil, and the chilling atmosphere of Who Dies in Siberian Slush are what make up the key components. Overall this is a fairly enjoyable release, and a project worth checking out for all doom lovers

Discography

Songs of Infinity - 2011