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

Doomed - Wrath Monolith

I have always been quite choosey about my doom metal. Or, as the hardcore doomers might say, I just don't “get it.” I think a lot of it comes down to guitar work. A player myself, this tends to be the first thing that my ears go to. While I agree that I am somewhat missing the point of funeral doom in looking for hooks, that doesn't make the endless dirges of sustained power chords any more interesting for me to listen to. Fortunately, Doomed doesn't see these elements as mutually exclusive.

Wrath Monolith instantly caught my attention with its fusion of death metal vox and riffs with funeral doom atmosphere. Vocals are primarily deep growls with the occasional retch. Meanwhile the guitars provide a dual trudge of crunchy chords with effects-laden leads that are simplistic, but highly infectious and well-crafted. Songs run the gamut of slow, atmospheric marches like opener, “Paradoxon” to more mid-paced, palm-mute heavy affairs like “Our Ruin Silhouettes.” The latter sports some excellent soloing and use of harmonics that made this a fast favorite.

There are some notable progressive elements as well. Songs may open with a misleadingly quiet, somewhat ominous piano or errant guitar picking only to evolve into a full-on head-banger death march (“Euphoria's End”). Doomed play with a a variety of sonic spaces with much success throughout the album. The tempo changes, shifting drum patterns, and ever-present personality of the lead guitar all serve to engage the listener whether the song is 5 minutes or 12. Additions of bells, horns, and subtle synth effects further Wrath Monolith's agenda to provide an air of class and as it levels everything in its wake.

Unfamiliar with Doomed, I decided to delve a bit deeper into their discography. Doing so only served to further improve my already high regard for this latest outing. While similar in overall sound, earlier works are a bit more 50/50 when it comes to the funeral doom and death metal. Songs felt slower and more depressive in atmosphere. With each album, the heaviness has been creeping closer to death, but the slogging paces of certain tracks have left them more firmly grounded in the extreme doom genre.

I feel that Wrath Monolith represents a larger leap away from My Dying Bride towards Morbid Angel. The mixture is far closer to a 70/30 in favor of the latter. “The Triumph – Spit” even has a portion that seems to forgo any doom elements altogether, leaving only a crushing wake of ferocious vocals and pounding double bass. There are other innovations as well. Songwriting is elevated with concise arrangements, more memorable hooks, and clear delineation between songs. Each track has its own personality while benefiting the overall aesthetic. The pacing is also stronger with more ups and downs.

For those who prefer Doomed's slower moments, I doubt you will find yourself disappointed either. There are still some melodic, more conventionally “doom-sounding” songs as with “Looking Back,” which features some moody clean singing and the trademark mournful vibe. Wrath Monolith is a veritable smorgasbord of emotional climates, but what is most impressive is how they are woven together to create a cohesive concept.

Final word: this is a highly recommended release for fans of all extreme metal sub-genres. With a very heavy dose of death, Wrath Monolith is doom metal for those desiring something perhaps more riff-driven. Far from a rote fest of drawn-out power chords and endless dirges, this album is filled with catchy hooks and punishing vocals. Furthermore, longtime fans will find familiar elements at play, but with increased vigor and presented differently enough to stand apart from Doomed's previous discography.  The album is available for stream HERE and purchasable for the low price of 7 Euro, though they also offer a digipack and some excellent bundles for a bit more. 

Enjoyability=9

Musicianship=8

Innovation=7.5

Overall=8.5

Mendel - Oblivion

Let me start by getting some cursory stuff out of the way:  Mendel is a virtuoso for people who don’t normally go down for the usual wankery.  Sure, you could easily put Oblivion on shuffle with Yngwie, Satriani, and Vai; but I don’t even keep those guys in my iTunes.  While the hardcore fans of such monumental names may dispute my claims, I feel that what makes artists like Mendel more impressive is a profound vision for songwriting.  Sure, Joe and Steve may be able to outshred me, but at the end of the day I really don’t give a shit unless it is enjoyable to listen to. 

Fortunately, much like the previous Shaking Hands with the Devil and Subliminal Colors, Oblivion is anything but boring.  The style feels less like a “look at me and how good I am” and more “let's build an awesome song.” There are inevitably those who will question the appeal of instrumental music, but I assure you that in this case vocals are utterly unnecessary.  Mendel conveys more than enough emotion through his axe to engage the listener on a visceral level.  Perhaps more importantly, I would say that he has stepped up his game in several areas.

For one, there seems to be a more cohesive vision and concept to the album as a whole.  Though Mendel has assured me otherwise, it feels as though there is an underlying story and this is the soundtrack.  The overall aesthetic definitely fits the sci-fi cover art (done by Sven de Caluwe).  While each song does an exemplary job differentiating itself, there is a uniting theme to the general sound that just screams outer space.

This brings me to another level of innovation: Mendel seems to have stepped up his melding of effects and alternative instrumentation.  There are moments right off the bat with “Discover” and the 8-bit-sounding intro to “Pulse” that add dimension and intrigue to the blistering compositions.  The cascading delay effects at the beginning of “Horizon” are just keen for a guitar nerd like me, not to mention the addition of Wah-wah.  Also, can I just say saxophone solo?  This contribution to one my favorite tracks, “Horizon,” (courtesy of Reina van Triest) tickled me in all the right ways.  Proggy keys, music box, choral synths: the list goes on, but none of it is phoned in.

Schmancy pedals and synthesizers aside, the basic (if you can call it that) guitar noodlery is still very much intact and as strong as ever.  I never cease to be amazed at how many different styles Mendel manages to capture in a single cohesive piece; from the straight neo-classical solos to bangable prog-metal chord progressions that run the gamut from Protest the Hero to Enslaved.  There are moments during “Oblivion Pt. 2” where I couldn't help but just smile, and there's a part about midway through where Mendel’s death metal proclivities creep through the cracks.  You would think this would clash with the strange instrumentation that immediately follows, yet like everything else it somehow works.  Last but not least, there are two exquisite guest solos from Benjamin Ellis (Bloodshot Dawn) and Jan Vermeulen (Mendel's former guitar teacher) that you do not want to miss.

Final word: Mendel has done it again. Foregoing the self-indulgent qualities associated with most virtuosos, Oblivion represents the union of vast technical ability with a commendable foundation of songwriting chops. That's not to mention the increased focus on overall concept and new musical additions.  This is a must-have for guitar aficionados and a must-listen for any music fan whether you are into metal or not.  You can stream the whole thing HERE via bandcamp.  At $7 for digital, this is a no-brainer purchase.  The neat artwork might warrant picking up the digipack as well.

Enjoyability=8.7
Musicianship=9.5
Innovation=8
Overal=8.7

 

Secrets of the Sky - Pathway

How about a little progressive post metal today?  Unlike the more sludge-inclined stuff from the genre I tend to post, Secrets of the Sky are much heavier on the prog side of things.  The guitar effects sport hints of Tool, and the overall sound is comparable to acts like Minsk.  However, I think that this is a bit more engaging than the latter due to the concise song-writing and brevity.  I was surprised at just how much I enjoyed this, but with those cool bass lines, perfect mixture of spacy cleans and melodeath-sounding growls, and the hooky guitars; what's not to like?  It's a journey worth taking more than once.  You can stream the whole thing HERE at Invisible Oranges.  Then you can buy it HERE for $8.99.  I'm definitely considering it.

Karst

 

Hey folks! I'm once again a free man (for the time being) now that my dreaded exams have come to an end. If all things go according to plan, I will be able to write a little more frequently.

Without further ado, I bring you Karst. It's quite the feat to release an album itself but one that is self-released, and in cassette format  can often be a risk most bands aren't willing to take. This risk however has definitely paid off for the likes of Karst. With their unique mixture of Black Metal, Garage Rock like influences and Progressive undertones they create a refreshing sound that piques your interest. They pull the style off with seemingly ease where other bands may find difficulty in mixing the jazzy interludes and other interesting influences. If you're all about the groovy, unconventional Black Metal, and lyrics sung in a different language this may be right up your alley.

Discography

The Number Twelve Looks Like You - Worse Than Alone

Celebrating an underrated classic today.  This album is a 10 in every sense.  It's innovative, it's an amazing piece of musicianship, and most importantly; it's a blast.  I recommend you listen to the full playlist on youtube rather than simply listening to a track, but two of my favorites are below if you feel so inclined.  Delightful fusion of so many styles that wouldn't seem to work, but do.  Yes, it's a foundation of mathcore, but it transcends into a fairly progressive, and wholly impressive, amalgamation.  Sadly, this was the group's swan song.  I had the pleasure of seeing them twice touring with this album, once with Dillinger Escape Plan.  They were just as good, if not better live.

Update - New Mendel In The Works

Did you enjoy the neo-classical monster, Mendel, that I posted a few weeks back?  If so, good news:  there is a new album slated for release this year.  You can hear the first single and pre-order HERE.  For those who are not in the know, Mendel is an instrumental shred-god who has a Name-Your-Price DOUBLE LP that you should definitely check out.  He is also one of the guitarists for death metal band, Aborted.

Wovoka - Saros

Los Angeles, California.  Home to sunshine, beaches, and hundreds of wealthy, beautiful people.  Surfing, shopping, smiling people.  Wovoka has come to change all of that.  They have come to slap the latte out of your hand and break those perfectly capped teeth.  Most closely comparable to works from Alaskan, Saros is a brutal piece of sludge metal determined to break down the façade and leave a wake of destruction.  Yet the coming storm is not without its own magnificence.

Guitars simply crush with a dual attack of crunchy, groovy chord progressions and melodic, effects-laden leads.  Utilizing everything from delay pedals to heavy reverb, Wovoka’s sound is dense.  Perhaps even more impressive are the drums, which are like waves of cascading cymbals and toms.  Every bass and snare hit seem to surround you with a tangible, live quality.  Between these slow, head-bob inducing rhythms, meaty bass lines, and sludgy riffs; I reached a level of zen: a peaceful acceptance of overwhelming grief and wretchedness. 

This relationship between the depressive and the blissful is only further emphasized by the vocals.  The pipes on this guy.  Somebody get him some tea and a throat lozenge, at least once he is done completely devastating the introduction to “Trials.”  Chills.  Every time.  With the deep tone of half-speed hardcore and unabashed honesty of Henry Rollins, Saros captivates and decimates.  The final words of the near-14 minute closing track are fitting: “There is nothing!”  Don’t expect this album to fill you with anything but self-righteous contempt.

In the end, Wovoka’s debut album is a captivating and emotionally-charged success.  While Saros does little in the way of exploring the boundaries of sludge or post-metal, it takes the blueprint to an absolute high point.  The consistent atmosphere, stellar production, and engaging songwriting never left me feeling anything less than mesmerized.  There is a track available for stream on their bandcamp, where you also can (and should) pre-order this monster.  Watch for it on April 14^th.  Bring bandages.

Enjoyability=9.5
Musicianship=8.6
Innovation=7.5
Overall=8.9

 

 

Dekadent - Veritas

Hailing from Slovenia, Dekadent play a unique brand of melodic death and black metal.  Seemingly fed up with record labels they describe on their page as having screwed the group over more than once, they have taken it upon themselves to record this album without such restraint through crowd-sourcing.  The end result is something listeners will need to judge for themselves.  But be prepared to block out some time, because one spin just isn’t going to cut it.

There is a lot to love on this album.  My fellow Metal Stormer, ScreamingSteelUS, hit the nail on the head when he compared the opening moments to a Pink Floyd piece.  The acoustic guitar, chord progressions, trippy synths, and subtle Hammond organ all remind me of "Eclipse," "Brain Damage," and even "Comfortably Numb."  These are far from the only rock fusions Veritas has to offer.  There are squealing solos, emotional bridges, and some absolutely gorgeous clean singing fit for an arena.  Yet not unlike Enslaved’s In Times, these elements are all united in such creative ways as to never make this sound like some death/black n’ roll hybrid.

Quite to the contrary, the end result is a dense wall of sound filled to the brim with melody and an ever-present sense of weight.  One need only hop over to bandcamp and listen to “Dead Mountain” to see what I mean.  This absolute masterpiece was what put the album on my radar to begin with.  From the cascading, sorrowful guitars to the alternating cogent growls and haunting singing; this track nearly brings me to tears every time.  I liken it to a more progressive take on last year’s “While We Sleep.”  While there are other instantly likeable tracks like “Pasijon” and “Valburga” (the album’s two non-English outings), I do feel as if the single sets the bar so unreasonably high as to make the rest of the album somewhat pale in comparison.  Fortunately, the plethora of textures provided by the varied drumming, piano compositions, and rock interludes keep things moving along in a very engaging way.

While Veritas' diversity of tempos and moods provides a nice range, my one qualm is that transitions between these parts can occasionally be a bit clunky.  This is best exemplified with “Enervation’s End.”  Not only does the opening riff clash jarringly with the closing of the previous track; it is just plain annoying.  Dekadent have some very clear songwriting strengths, so it is puzzling to me how such a below-par piece was allowed to recur multiple times right in the center of an otherwise solid album.  The song is not without merit:  I enjoy the pendulous synthesizer and double bass as well as the acoustic breaks.  Unfortunately the amateurish guitar and vocals of the other parts are so cringe-inducing as for me to hit skip more often than not.

But in the end, this one blow is far from enough to sink the ship.  Rather, I consider Veritas to be a brave and fruitful excursion that certainly will deserve recognition at the year’s close alongside Enslaved, Death Karma, A Forest of Stars, and Leviathan.  The clear amount of work-ethic and DIY philosophy show in its distinctive compositions, exceptional showmanship, and willingness to explore new territories.  Check the album out for yourself here.

Enjoyability=8
Musicianship=9
Innovation=9
Overall=8.7

Downfall of Nur (Argentina)

So yet again, it’s 2015, and despite all of my convictions held that post-black is a trite and boring affair, I have been proven wrong.  After being severely underwhelmed by last year’s Deafhaven and its thousands of art-school imitators, group after group have shown me the light.  The solution is so obvious: make the music different and interesting.  This brings me to Downfall of Nur.  Fusing the haunting howls and chord structures of post metal, the constant build of progressive, and the engrossing soundscapes of blackened folk; Umbras de Barbagia is a monument of sorrow.

This album is a bit of a slow burner. In fact, it's a full 10 minutes before the vocals even kick in, but believe me when I say that your patience will be rewarded.  Fortunately, the wait is not a chore by any means.  Between the deeply sad minor chord patterns and the (unique) folk instrumentation, the well-constructed progressions provide plenty of feeling and engagement.  The most abundant untraditional instrument is the quenacho flute.  You will probably recognize its sound from Kung Fu, or Kill Bill part 2.  But there are also appearances of piano, strings, and even rain sounds.  Those who stick around to the final track will also experience a bagpipe performance fit for a funeral procession.

The vocals start off like most post-black acts: fairly unintelligible, screechy, buried in the mix, etc.  I was a little concerned at first that this might be where things take a turn for the worst.  However, much like with the instrumentation, there is a wealth of subtle variety to be found.  When things slow down, Dany Tee (Seelenmord, In Element, ex-Dead Warrior, Those Endless Eyes) goes with something a little more grim and growly that I can actually understand.  Even more pleasant are the passages of clean singing that border on a folky chanting. These slower parts feature some very crisp acoustic guitar and tons of reverb on everything. The production choices really help the drums sound deep and foreboding.

While sonically, it would be easy to compare the tone of this to other post-black acts, I find myself thinking more of Enslaved.  The two sound little alike, yet the simple, subtle takes on songwriting and manner of black and folk fusion warrant the association.  Those who have had the pleasure of listening to Au-Dessus’ debut, Tod Huetet Ubel, Telpathy’s 12 Areas or even Leviathan’s latest album are likely to find enjoyment in this as well.  Final word: Dark, haunting, and very rewarding.  Check it out on bandcamp for stream and consider it’s low 4 Euro price tag if you enjoy it as much as I did.

Enjoyability=9
Musicianship=8
Innovation=8
Overall=8.7

Telepathy (Essex)

I seem to be on a bit of a post-metal kick, which is weird because I normally just don't care for the genre.  Furthermore, this is instrumental; which I like but am even more picky about.  Despite having such barriers to jump over to please this jaded, fast-and-hard metalhead; 12 Areas managed to not only prove enjoyable but surpass all expectations.  The arrangements are interesting and intensity never lacking.  Crunchy, heavy, tasty: like a good cereal.  Name your price for a box here.

Mendel (Holland)

I hope you like neo-classical shredding, because Mendel came to do that and chew bubbl...you get the idea.  Stunning instrumental progressive metal that is infinitely more interesting to me than Yngwie or Satriani.  It's a little bit like BTBAM without the vocals, only the harshness at times reaches levels on par with Black Dahlia Murder.  Alternatively, this one-man wrecking ball also tries his hand (and succeeds) at a few classic arrangements and even a dubstep track as well.  Name your price here for not one, but TWO albums of pure guitar prowess.  I also just realized added points are due for the Silent Hill symbol on the cover.

A Forest of Stars (UK)

Okay, so if you are a real black metal fan, you probably already know who these guys are.  However, I am willing to bet your average metalhead has never heard of them.  This is sure to make some Top 10 lists for 2015.  The vocals are like a demented one-man-show backed by the occasional angelic female melody.  Strings, slide guitar, backtracking, occasionally indie sounding bass.  But I thought you said this was BM?  There's still plenty of tremolos and blastbeats for you, but this album truly transcends in its art and beauty.  Check it out here.  Another solid deal.

Torrential Downpour (US)

A fellow Metal Stormer recommended this on a list, and MAN, was I glad I checked it out.  Progressive metal melding more genres than you can count on two hands.  I love the Mike Patton with Dillinger Escape Plan style vocals.  Has a very sci-fi vibe to it and the production is tight.  It's only $5, don't miss out.  Easily would have made my top 10 of 2014 had I heard it when it came out.

The Heartland

 

Continuing with the core theme, The Heartland are a now defunct 5-piece mathcore band. Atypical from lots of other Mathcore, The Heartland aren't just focused on erratic time signatures and progressiveness. They certainly do not shy away from throwing in melodic passages, The best descriptor would be a softer jazzier Converge albeit less abrasive and more technical. A definite worthwhile listen if you're a fan of mathcore.

 

Listen to more of them here 

The Artificials (US)

Very emotive technical post-hardcore from Alabama.  The guitar work is nothing particularly new, but I like the interplay of the male and female vocal leads.  There are plenty of feels to be had.  Check it out here.

Fulgora - Stratagem

Sorry for the overload today, but I wanted to strike this one while it's hot. Stream is up here, but I'm not sure for how long. Fangora is a bit of a deathgrind supergroup featuring members of Pig Destroyer, Misery Index, and Agoraphobic Nosebleed.  Nothing super original here, but that doesn’t stop it from being fun.  Think PD’s more accessible, groovy riffs with hardcore punk vocals.  Song lengths are pretty average rather than following the typical 30-50 second blasts of the genre.  Still a short listen with only 7 songs, but I think the length is perfect for what it is.

Enjoyability=8.5
Musicianship=8
Innovation=6
Overall=7.7

Vertebrae 

 A good friend of mine is in charge of promoting his friends band Vertebrae. He kindly asked me if I could spread the word and here I am doing exactly that.

Facebook  

Last.fm

Bandcamp