Vile Insignia

The skies are dreary and winter shows it’s cold face. The season calls for some black metal. The dark chilly nights demand satanic, infernal black metal tunes and Vile Insignia delivers just this in their debut full length, titled ‘Bestial Invocation’. Hailing from Canada, this band share a few similarities with the likes of Blasphemy and Proclamation. Their overall sound however is quite different from the war metal bands. Firmly rooted in traditional black metal, they incorporate elements of death metal into the song writing to create a vicious and barbaric sound which contains some very solid riffs.

Vile Insignia write tracks that are generally over 5 minutes and take the black metal approach of building up with tremolos and a dark atmosphere. The first half of the album shows little to no death metal influence. The tracks are rife with blast beats, tremolo sections and sinister melodies. Tracks like ‘Enslaved Possession’ can be considered pure black metal tracks and they are well written.

Where the band truly shines however, is on tracks like ‘Desecration Through Blasphemy’. Here they take ideas from death metal, especially of the technical kind, and use them to write a black metal track. The result of this is that the riffs are part sinister, part technical and sound absolutely enthralling. These ideas are concentrated more on the second half of the album on tracks like ‘Incarnation of Torment’, ‘Ritualistic Inquisition’ and the title track itself.

The album is brought to an end with the 10 minute long epic, ‘Morbid Tales of Bloodshed’. Easily the best track from the album, this track takes the listener on a ride with impressive riff work and melodic undertones. The production is fine and the ominous atmosphere adds a sinister touch to the riffs. The blastbeats sound a tad bit compressed in the mix though. The vocal work which comprises of snarls and deep growls are as venomous as the riffs.

A well written and well executed black / death album is the perfect way to welcome the season. Vile Insignia have provided with just that with their debut full length.

Courtesy of Metal Gallows 

Bölzer

 

I will be the first to admit that I have been a complete stranger to metal over these past couple years. It's as if I were living under a rock in a far away land. Bölzer are just one of the many fine examples of great bands that I had been missing out on in my what you would call "vacation" from all things music.

Bölzer are not an unknown name by any stretch nor are they quite yet a household name  I believe they're on the verge of of creating something special and are certainly on their way to making themselves a well established band in the Extreme Metal Scene. Their music sums up the attitude and tone of their vibe of their music. It certainly is is smashing and packs a punch much like a Bulldozer so brace yourself.

The thing that immediately struck a chord with me and caught my attention was that rich, and thick guitar tone. It carries so much weight, and with the repetitive and memorable riffs you can't help but bob your head a little as if you were in a hypnotic state. After listening to both of their EPs I now see why this band was so hyped up. In it's very essence it is powerful, brutish and ominous and much much more. I can hardly wait to see and find out what this heavy-hitting Swiss duo will grace us with next. 

Beithíoch

Beithíoch is a black/death/doom metal band from Ireland. The name means (Irish) ‘Beast' Reportedly beginning with an "ambient black metal" sound on Aisling Dhorcha, it has develoed into into something described as being more powerful, and a tad folky. "Conquest draws on historical stories of massacre, battle and rebellion - combining the muscle of early Amorphis with the compositional sensibilities of Burzum in an album exploring the savagery inherent to human nature." Wicked. I'm in.

As I hit play, I am immediately clubbed with a combination of Portal and Abyssal meets Viking
metal. Racing tremolos lead us to battle with "The Fury of the Sea." The unique melodies are quite intriguing at times. The layering of reverb and hooks in the distance creates a sound full, much like a battleground filled with the immediate clashing of swords and more distant cries of agony. And when things get fast, the enemy is pulverized.

But you'll remember doom was mentioned here as well. As with the fluctuations of Behold! The Monolith, other songs have a strong doom element as with "Smashing the Shrines." The mixture of funeral and more classic Sabbath sounds with black and atmospheric death continues to walk the path of keeping things fresh. There's even a small dose of ambient on a few tracks.
But whether it's this sludgy slowness or the raging blastbeats of "Conquerers," save room for a helping of big chunky distortion. Some similarities to Dalkhu, but with a bit more early Amon Amarth in its veins. "The Ruins of a Forgotten People" instrumental would have fit nicely on the last Portal album as well. But no matter the comparisons, Conquest is the sound of warriors riding each other down in limbo, forever reenacting battles long since over. Yes, some very Dante-esque Viking metal. Time speeds up and slows down for the kills, but this is less The 300 and more Valhalla Rising. The album even ends similar to how it started, beginning the cycle once more.
So if that sounds like your sort of thing, definitely check this out. It's a different take on on genre fusions that kept me going. You can stream and buy below, as usual.

Courtesy of Metal Trenches 

Selvans

Selvans is a black symphonic folk metal band from Italy. On their latest full length release through the excellent Avantgarde Music, a label I have come to trust for quality underground metal releases, Selvans definitely bring their A game. Lupercalia is the name of an ancient ritual that was meant to purify and drive out evil spirits from the city. I dunno, it sure feels like we're welcoming them in.
The real treat here is all of the great, folky instrumentation: flutes, mandolin, strings all partake in addition to the more traditional Emperor-style symphonics. These all make some great statements in their careful placement within the larger composition. "Hirpi Sorani," in particular, comes to mind with its perfect flute flourishes and mandolin layering that reminded me of the main title track for Silent Hill 3.

But the keyboards pull plenty of weight for themselves. There is a great expanse conveyed through the resulting atmosphere. Each sustained, angelic note inspires a plethora of emotive responses. It's no wonder choices were made at times to pull back all other instrumentation and allow these passages to stand alone. The resulting dynamics can be quite breathtaking.
So what about the metal? I've spent the bulk of my time here highlighting all of the hybrid elements from classical and folk tradition, so where do things get heavy? Be still, my little acolyte, there is still plenty grimness to be found. Vocals are harsh and throaty throughout. I can hear the resulting larynx damage true to black metal tradition. Taake may be the closest comparison. Lyrics are often in what I assume to be Italian, but they are vile enough to make this difficult to surmise. Things really escalate by the time "N.A.F.H." comes to a close.

Meanwhile the guitars and drums definitely do their part to make this an engaging piece of work. Nothing out of the ordinary: varying degrees of tremolo, minor chord picking, blastbeats, d-beat, double bass. What is important in this genre tends to be how it all comes together. In Selvan's case, it does soe quite well. Compositions, despite being quite long, feel conside and well-structured. Melodies are catchy and the rhythms will get you moving.
If you are ready to check this thing out for yourself, it just came out today (10/19/15) and is ready for your consumption below. Digital copies are pretty cheap for purchase as well. I definitely recommend it.

Courtesy Of Metal Trenches 

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 

A Forest of Stars

A Forest of Stars have been what I would say one of my favourite bands. That by no means is an easy feat to say.. Ask me what my second would be and I coulnd't tell you. Oh well.. While their latest release may not be my favourite output of theirs, there is still much charm and positive to be taken from it. To be honest, I disliked it at first. Though knowing how difficult A Forest of Stars was originally to get into, I gave it another couple go's as an inital listen was much too premature to give a fair opinion. As always, they push the boundaries with their psychdelic approach and great depth and layering. In many aspects, their experimental elements have left a positive imprint on the avant-garde/experimental Black Metal scene which should only make them a household name. Anything less would be criminal. Be patient, attentive and enjoy to the fullest with all your senses. 

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

نار جهنم Narjahanam

 

It's always a treat for me coming across a band from the Middle East, maybe for them less so. In a region so politically clout the mere playing of such music can be condemnable which automatically draws me to them. In the small country Bahrain, Narajahanam do just this. While Bahrain is slightly more liberal, I can't imagine their  style of Oriental-esque Death Metal being  embraced and welcomed with open arms. The music is electric and thunderous with its Death and Black Metal influences and the Exotic vibes are ever so present  Middle Eastern influences. The meshing together of Western and Eastern elements and influences in a non-kitschy way is what gives this the fresh sound it has.

 

Discography

Dendritic Arbor - Romantic Love

 

Make no mistake, there is nothing romantic about this album.  I am still in the process of truly digesting all that is going on.  What genre is it?  At times I feel like I am listening to a particularly grimy grindcore act, others I am thinking about black and death metal in the vein of Malthusian or Portal.  Then they hit you with the occasional breather of straight ambient, even when the music is at its most vile.  It is all over the place, and I love it.  It has already shot up pretty high on my 2015 list.  Not quite top 10 material, but who knows what a few more listens might bring?  Be sure to stick around for the full run time, as things don't truly pick up until my personal favorite, "Horizontal Key Vertical Gate."  "Ewaste" is also quite good.  Check out the whole album HERE.  It's only $5 for

digital.

 

 

Balmog

 

With the increasing number of bands choosing the progressive or experimental (or any of the other derivative sub genres) route to black metal, there seems to be a craving in me for the more raw stuff. I’m talking about the no frills, jarringly abrasive noise that says a big fuck you to everything conventional. So it’s a good thing that I found Balmog when I did. This Spanish three piece’s 2010 EP ‘Necroangel’s Revelations’ was recently re-released by Blackseed Productions ahead of the band’s upcoming second full length. This EP screams out black metal from start to finish and what sets this band apart from most second wave clone bands, is the way the music doesn’t sound contrived.

‘First Revelation’ starts with some guitar feedback, before directly jumping into the action with tremolo riffs and the rapid drumming. From there on, the flow is very natural as the song shifts into a mid paced riffs before the guitars offer the slightest hint of melody with a small bridge section. All three tracks on the record are long and none of them overstay their welcome (well, except for the last track. I’ll get to that one). The way this works is, the band manages to bring in different varieties of the genre into the track. Balmog can go from tremolo frenzy to mid paced atmospheric arpeggios without the listener even noticing the change.

‘Second Revelation’ starts in a similar manner to the first and the sound of church bells add a very gothic tone to the music. There is the slightest hint of thrash metal influence, but at the core it’s unadulterated black metal. The rasps of the vocalist sound demonic, reinforcing that evil feel of the music. This track settles into a more comfortable pacing as it progresses, only to be disrupted by a solo that is well written and one that keeps up with the feel of the track.

The ‘Final Revelation’ starts on a more atmospheric note and the track itself has a less frenzied approach compared to the first two. Once again, this is a track that brings in all the black metal tropes to create an interesting mish mash. Around the half way point, the track slows down and gothic chants (I think it’s in Latin?) chime in. The guitars, the agonizing vocals and the mild chanting in the background create a very interesting dynamic which lasts for like a couple of minutes. After this, the guitars die down, but the chanting does not and it continues alone till the end of the track. Having a dramatic finish is fine, but having only gothic chants for two and half minutes is a bit annoying.

The last couple of minutes aside, Balmog’s ‘Necroangel’s Revelations’ is a solid black metal EP which carries the black metal motif like a classic. It’s a refreshing glimpse into the raw side of the genre, while everybody else is busy making it progressive.

Rating: 76%

Courtesy of MetalGallows 

Arcturus - Arcturian

Another group that is not exactly unknown, but this being a solid release and their first in 10 years...

Arcturus is a group from Norway that dropped its first LP in 1995...roughly 19 years before I even got around to listening to a single one. While this is sad on my part, it is worth noting that they have not released anything since 2005's Sideshow Symphonies. Despite not being a long time fan, Arcturian fills me with a sense of nostalgia. I get the same feeling from this album that I did listening to my first Dark Tranquillity CD's in high school. This may be in part due to the contributions from ICS Vortex, a musician I have respected since my formative metal years listening to Dimmu Borgir. While musicianship is a good indicator of an album's quality, it is often these elusive, qualitative aspects that will stand the test of time.

Even so, this is certainly not to say that Arcturus is lacking in the songwriting department. To the contrary, the many elements at play are quite remarkable. The plentiful string arrangements throughout deserve particular attention. Tracks like “Angst” and “Pale” showcase a level of pomp that is dark and foreboding without a hint of cliche. Similarly, the subtle synth and electronic elements take songs to new heights of atmosphere and appeal as with “The Arcturian Sign,” “The Journey,” and “Warp.”

While the guitars and drums often do little more than help fill out the sound and create a heavier aesthetic, they too have the occasional spotlight moment. “Game Over” features a fittingly classy solo while “Crashland” and the opening track have their share of thunderous double bass, tom fills, and snare rolls. But the real accolades here go to Mr. Vortex. I have often said that this man is possibly the most talented vocalist in metal today, and his work here with Arcturus is no less impressive than classic contributions to Death Cult Armageddon or Borknagar's The Archaic Course. His voice is operatic in its sheer power and command of melody without ever becoming gimmicky. And while there are not many harsh vocals to be found in Arcturian, Vortex's presence is no less imposing.

Alas, similar to Sigh's Graveward, the only major problem I have with Arcturian as an album is that the production feels rather flat in comparison to its lively compositions. The more “classical” moments (i.e. the first half of “Bane”) really pop, but it seems like things go wrong whenever the guitars gain prominence. Crunchy distortion seems to bulldoze peaks and valleys into a uniform plain that lacks grandiosity. The drums feel particularly lackluster in these times, but I think that the most egregious crime is that the stunning vocal performance is not given the depth it deserves. With all of the posh ambiance, I crave a sound that feels more nuanced and vital.

Fortunately, the clear passion and professionalism exuding from the very pores of this LP are more than enough to forgive issues in the studio. Advertised as “The new magnum opus from Arcturus,” Arcturian is the rare comeback album that delivers on its promise. Between the tasteful classical elements and perhaps best vocal performance so far of 2015, one would be foolish to pass on at least a few spins of this accomplished piece of art. Coming May 8^th, don't be one of those fools.

Enjoyability=8.7

Musicianship=8.9

Innovation=9.3

Overall=9.1

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

Full Review: Murg's Varg and Björn

After some extended time with this album, I felt the need to give it a much more deserving review:

I initially listened to Murg on a whim after seeing it on a Tuesday release list. Bandcamp and I have become good friends, so seeing they had a stream available didn't hurt either. I was further intrigued by the promise of black metal from the “days of old” in the album description. While my initial reaction to the music itself was mixed, I found myself drawn back to Varg and Björn regularly in the weeks that followed.

So what was so intriguing? Well for starters, there's “Massvandring & blodbad.” This bouncy, somewhat folky tune instantly made my list of top songs for 2015. Those familiar with Taake may agree that the guitar work and tone are more than reminiscent of their later work. The rest of the album is similarly soaked in Hoest's ear for melody while maintaining a grim atmosphere and edgy production.

It is in these similarities that Murg truly delivers in its promise of 2^nd wave nostalgia. On each listen, I am reminded of early Darkthrone, Mayhem, and Satyricon. The anguished tremolos, pounding blastbeats, and tormented vocals are all here in spades. But at what point do throwbacks become redundant? Those who listen to a similar wealth of black metal may hesitate to ask “why not just listen to the classics?”

For a time, I was thrown by this very question. But ultimately, Murg's keen sense of melodic hooks and expert production is unquestionable. Of Swedish descent, it may very well be written in their blood to fuse the dark and melodic while maintaining tight, memorable compositions. And so, despite similarities, Varg and Björn is less evil but more mournful than Mayhem. It takes Darkthrone-style tremolos to new heights of sorrow. The reverb-drenched soundscapes and crushing drums rival anything Satyricon put out in their early years. In short, Varg and Björn innovates just enough to differentiate as it celebrates.

In the end, I threw down the measly 50 SEK with no regrets. Murg earwormed their way into my collection and proved in a short time that their work is just as worthy as anything from the 90's. The thunderous bass drum impacts, catchy melodies, and spot-on grim vocals have been regular in my rotation ever since. I look forward to see what the future holds.

Enjoyability=9.2

Musicianship=7.9

Innovation=7.5

Overall=8.5 

Sigh - Graveward

Let's cut to the chase: this is some weird, wild stuff. Heavy metal, brass-heavy symphonics, black metal, occasionally 80's thrash-sounding hooks, neo-classical solos, JPop, saxophone solos...This has a little bit of everything, and you never really know when or where it is going to happen. "The Tombfiller" is a great example of just how well Sigh manages to tie all of these elements together into a deliciously enjoyable chaos. I am truly in awe of these compositions.

Given its tendency to change drastically on a whim, trying to give an in-depth description of Graveward's sound is no easy feat. One might best compare it to a piece of modern art: No matter how off-the-wall the end result might be, every painting needs a canvas and every sculpture a structurally-sound foundation. Sigh's is crunchy, squealy riff-driven guitar work, black metal vocals, and some pretty basic drumming.

That in place, Sigh proceeds to fling paint and slap clay like Jackson Pollock. But not unlike the artist, no action is haphazard. Take the first single, “Out of the Grave” for instance. On the surface the middle-eastern instrumentation, baroque horn flourishes, back-up vocals, and sax seem to be a nihilistic romp through the avant garde. But repeat listens reveal a detailed order to the various movements and changes. In fact, the carnival-like facades often conceal a traditional (and catchy) rock structure.

I have only one major complaint about this album: the production is constantly bugging my ears. It most closely reminds me of Nokturnal Mortum's Nechrist. Various parts seem to slide back and forth in the mix. Vocals will become overly loud while drums and guitar become muddy. Most sinfully, the gorgeous brass and synth work lack depth. Such masterful ordering of chaos deserves an organic space to work in rather than being trapped in the 2 dimensions of the phantom zone.

Final word: one of the most equally innovative and enjoyable albums you will hear in 2015. Furthermore, Graveward is a step up from previous albums in both scope and consistency. While some groups in the avant garde camp are happy to be weird for the sake of weird, Sigh makes the argument that the bizarre need not be inaccessible. Much like Leviathan's Scar Sighted, Graveward has earned Sigh a new fan through mastery of the unconventional.  The album drops just in time for 4/20, but you can hear several tracks and pre-order HERE right now.

Enjoyability=8.5

Musicianship=9

Innovation=9.5

Overall=9.1 

Antiversum - Total Vacuum

If you like Portal, and you dig Malthusian, meet the halfway point.  A bit noisier than the latter, but still more orderly than the former; these (also) Irish blackened death metallers are true to their demo's title.  Total Vacuum seems to suck all of the air from the immediate surroundings and replace it with utter nothingness. I am not even going to rate this, because I honestly don't know how to.  You'll just have to LISTEN for yourself.

Awe / Vacantfield / End - Moerae

Three groups, three songs, roughly 17 minutes each. All great Greek black metal inspired by the 3 Fates who are also wonderfully depicted on the cover.  Awe's track sucked me in with a startling variety of pacing, intensity, darkness, and beauty that Greece's BM is known for. Stellar song. Vacantfield is decidedly more blunt-force trauma in the vein of Mayhem/Darkthrone. But even this is deceptive with the sudden break into pure ambient noise that in turn morphs into something...else. Something slightly more melodic and a little oddball. It will leave you guessing. Finally, End's track is a foreboding closer heavy on the bass and perhaps a touch slower in tempo. Plenty of earworm tremolo runs and reverb-soaked vocals. Check it out HERE and be sure to check out each band's individual pages linked there as well.

Enjoyability=8.5
Musicianship=8.5
Innovation=8.5
Overall=8.5

Malthusian - Below The Hengiform

If you asked Portal to write a pop song, the end result wouldn't be far from Malthusian. Fitting somewhere between the catchy, riff-driven ugliness of Lord Mantis and harrowing, technical death metal of Ulcerate; this quartet knows how to walk the tightrope between solid hooks and challenging compositions. After being introduced to their first demo a few months back, I was eager to hear more of what the band describes as “Cavernous murk. Echoing poison. Claustrophobic hallucinations.”

However, unlike Demo MMXIII, Below the Hengiform is not as readily accessible. Of course I use that word in the loosest possible sense, but the fact remains that the band's latest EP is a bit more mentally taxing than its counterpart. The memorable qualities that immediately drew me into their debut are still present, but buried beneath further layers of Irish fog. Instantly recognizable guitar lines as on “The Mother's Blade” have been traded in favor of something far more sinister and mysterious.

Fortunately, perseverance will be rewarded. I argue that the term “grower” ceases to have meaning if one must listen 10+ times to “get it.” There comes a point where connections are forged out of sheer force and fatigue. Not so with Below the Hengiform. It was only between my second and third attempt that these constantly twisting, tentacled compositions began to take firm hold and squeeze. The drumming is as strong as ever with plenty puzzling time signature changes. Trying to count along is being Jack Torrance lost in the frozen labyrinth and always thirty paces behind. There are some slower moments of note as well, particularly the pulsating final minutes of “Forms Become Vapor.”

Meanwhile, the guitars and vocals assault the senses with broken glass and razor blades. There is something about these bending, discordant melodies that must be experienced rather than simply described. They worm their way into the flesh with doom, sludge, black, and death metal seemingly all at once. Screams alternate between guttural death howls and blackened retches, sometimes overlapping the two with spine chilling results. If Zev Dea can give Portal's “Curtain” the Poe treatment in “The Conqueror Worm,” then “The Gasless Billows” should represent the undulations of “The Tell-Tale Heart.”

Final word: worth the wait. While I am still more inclined towards Malthusian's soul-shattering demo, Below the Hengiform represents a group willing to explore the depths of “extreme music” without sacrificing the latter half of the phrase. I also respect their sentiment that continued short releases allows time to hone their craft rather than rushing into a full length album. You can find the album for pre-order on BANDCAMP and also stream it HERE. It's only 5 Euro.

Enjoyability=8.5

Musicianship=9

Innovation=8.5

Overall=8.8

Murg - Varg & Björn

Swedish black metal a la early second wave, albeit a bit more melodious like Taake. Nothing new, but executed quite well. "Massvandring & blodbad" in particular just screams Hoest from its slight folky swing to the harmonies and vocal cadence. This and Black Flame both scratch an itch without doing all that much to write home about. But they scratch it so nice that I forgive them. Maybe not on par with Corpus Christii, but still solid start to finish. Very cheap on bandcamp.

Enjoyability=9
Musicianship=7.9
Innovation=7
Overall=8

Animus Mortis - Testimonia

It’s rare that I find a group that would be equally as at home touring with Hopesfall as Taake.  Sure, there are plenty of post-black outfits that inject some indie and hardcore ethos into their blastbeat-driven sound, but the pure spacey post-rock riffs of tracks like “Hyperbole of Senses” forego the word fusion.  Rather, they are given their own unmolested space while the black metal vocals do the same.  Each seems to exist fully within its own genre while creating a true duality of beauty and ugliness.

Hailing from Chile, Animus Mortis play a highly emotive, guitar and drum driven brand of music.  While they are often listed as black metal, I think the closest tag would be post metal.  The combination of the jangly rhythm guitar chords and slow, sorrowful picked lead melodies is blissful rather than grim.  It’s the sort of melancholy that leads to introspection and new outlook.  Meanwhile the drums construct an ever-changing landscape of textures with double bass, tom fills, blastbeats, ear-catching cymbal patterns, and just an overall sense of both the technical and the memorable.

The vocals come in two major flavors:  almost folky baritone singing/chanting and echoed howls and growls.  The former often reminded me of early Borknagar, albeit more subdued and less theatrical.  Whatever comparisons they might conjure, I find these parts to be quite soothing.  The harsh vocals, on the other hand, have a much more cavernous, evil quality.  They seem to contort the very fabric of the music with songwriting shifting markedly into ominous minor keys and the drums becoming increasingly aggressive.  A good example is on “Manuscripts,” where the aforementioned peace between the black and the beautiful devolves temporarily into a spiraling chasm of darkness.

Honestly, every track on this album is a winner in some way.  I was drawn into each on my very first listen with the one-two punch of varied songwriting and striking hooks.  Each subsequent listen only grew in lushness and gratification.  While it may sound sappy, Testimonia takes me away to a different place.  A place where my feelings flow more freely and tears of both joy and regret threaten to burst forth at any moment.  But enough of my self-righteous pontification.  Check the album out for yourself on bandcamp.  It’s only 7 Euro if you feel as strongly about it as I did.

Enjoyability=9
Musicianship=9
Innovation=8.5
Overall=8.9

Kommandant - The Architects of Extermination

Kommandant, despite the very European-sounding name and album art (KMFDM?  Is that you?), are a black metal band based out of Chicago.  Sporting a few releases since 2008, The Architects of Extermination is their 3^rd full-length album.  New to the group, I was interested enough after hearing their single and seeing that they were from my old stomping grounds to check it out in full.  After Lord Mantis blew me away with Deathmask last year, I continue to be impressed with what vicious fusions are cranked out from the windy city.

Compositions at times remind me more of Godflesh than any black metal group.  The focus on slow, pounding drums and discordant, droning guitar brought me to thoughts of Streetcleaner’s “Dream Long Dead” and “Christbait Rising” more than once.  The difference lies mainly in the grim vocals that echo from the background similar to Lunar Aurora or Deathspell Omega.  Other comparisons to these groups are warranted, though Kommandant choose a far more straight-forward and perhaps less melodious approach.  The opening build on the album’s first track is one of my favorites.  The simple yet effective rhythms got me doing that 90’s head bob and sway.

Pictured: My childhood

There is a character to each instrument.  The clangy basslines are like an evil voice whispering behind your ear.  Dark tremolo passages are lurking shadows at the corners of your vision.  And the drums…wow.  The work behind the kit on this album is by far my favorite aspect.  While the beats aren’t really anything new, the excellent production behind each tom hit is stellar.  From the foreboding march of “Killing Word” to the blastbeats of “Rise and Fall of Empire” and marching drum snare rolls of “Onward to Extinction;” this is the sound of the four horseman approaching.  Spoiler alert:  they aren’t here for deep dish pizza.

In the end, I do find myself at times wishing for a little more payoff to the ominous threat prowling just outside my view.  But with each listen, I come to respect more and more the utter feeling of dread that accompanies this slow-burner approach.  While a more traditional blast of fury might be satisfying, comfort is not something Kommandant wishes to offer.  More Lovecraft than Clive Barker, The Architects of Extermination is an eerie blackened industrial trudge through Silent Hill, where the fog obscures your vision, but that damned radio static is a constant reminder to never stop running. 

The album drops 4/27, those who order the digipack will receive the exclusive - and one of my favorite tracks - "Killing Word."

Enjoyability=7.9
Musicianship=7.9
Innovation=8
Overall=8