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 

Corpus Christi - Palemoon

Corpus Christii caught my eye when perusing the March 2015 release list via bandcamp.  The 3 tracks available on their page seemed destined to satisfy my need for the occasional black metal that one needn’t think about; only smile while burning in its flame.  I was unfamiliar with the group, so seeing that their release history goes back to the late 90’s was a surprise.  Apparently they have been turning out some of the more relevant BM from Portugal nearly since the genre’s inception.  While listens to their earlier works left me questioning what the album might bring, Palemoon tore the flesh from my bones for doubting even for a second.

I really don’t care how “kvlt” my BM is, but in Corpus Christii’s case, it certainly doesn’t hurt.  Aside from the slightly beefed up production, Palemoon could have easily been released alongside heavyweights Darkthrone and Mayhem.  Openers “Far Beyond the Light” and ripping “Under Beastcraft” sport epic, dark melodies with head-banging blast and d-beats, while more stripped down tracks like “Eternal Bliss” and “Last Eclipse” are more reminiscent of Under a Funeral Moon.  But don’t get too comfortable with those bleak, pendulous tremolos either; they are known to erupt into bursts of black n’ roll fury akin to Satyricon’s later outings or IXXI’s Assorted Armament.

I’ll admit that one of the things I wasn’t exactly fond of when browsing Corpus Christii’s prior catalog was some of the choices regarding vocal delivery.  Fortunately that was not a problem this time around.  In fact, these are some of the most vicious, chaotic, and dramatic screams of agony you may hear this year (aside from maybe Leviathan).  This is not the over-rehearsed melodrama of Carach Angren.  Rather, Nocturnus channels everything from De Mysteriis Dom Sathanas to Nemesis Divina.  Performances feel improvised, creating a magnificent live effect.  While I have applauded a handful of BM vocalists recently for their rare level conviction, few have reached the rawness that is on display with Palemoon.

All of the other instruments showcase an equal level of energy.  The production of this album, while gritty, is still notably more modern in the level of bass and fullness of sound.  Fortunately this allows the drums to crush skulls twice as hard while the rumbly bass guitar mocks the fallen.  Meanwhile the one-two treble punch of the relentless guitars and snare hits grind the remainder ash.  This isn’t some Cradle of Filth gothic romance…this is war.

Final word: here aggression trumps invention.  While nothing on Palemoon will strike the veteran listener as original, Nocturnus does the old sound faster, harder, and better than anyone I have heard in some time.  As Immortal disbands, Darkthrone goes crust punk, and Enslaved explores new progressive territories; Corpus Christii is here to carry on the spirit of early second wave.  No compromises.

Enjoyability=9.5
Musicianship=7.8
Innovation=7
Overall=8.6