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

折戸 伸治 Shinji Orito (Japan)

 

I know I've been somewhat slow with my reviews lately. This is the struggle of being a student and a blogger, priorities.. ugh.  For this entry I will change things up  again as I often do an introduce you to the talented Shinji Orito. Even though it is immensely popular these days, Anime is just something that has never done it for me. Sure, I enjoy the classics like Dragon Ball and Pokemon but I've never delved further into or felt a connection with any of the shows. One thing is certain though, where I lack the passion for the show, the music is an entirely different animal all together. Shinji Orito is just one of the many Anime soundtracks I adore. His music makes you feel alive, either in a way of elation, or through despair His music is both cheerful and absolutely solemn at times. The contribution in the anime Clannad helps capture this essence of emotion perfectly. Beauty, despair, warmth, and cold is what you can expect on a bitter sweet journey. Enjoy

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

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

Prion - Impressions

I come across a lot of good music from South America and the one thing they all share in common is that they tend to lean towards the extreme side of the genre, An album that recently impressed me from that region is from 2008. It's from an Argentinian death metal trio that call themselves Prion and the album in focus is 'Impressions'. The metal on this one is raw and brutal. The savage sound shows absolutely no mercy and riffs pummel relentlessly. What makes it stand out from the pack is the odd time signatures followed by the riffs. At first listen it comes a mess of noise but this album is a grower. Repeated listens make sure that the listener gets used to the riffs and it is only then that the brilliance in the song writing can be observed. There are traces of melodic elements present at the start of 'Simulate, Hide', but for the most part it is an album devoid of any sort of melody. The band chooses technicality and sheer brutality over melody. The production sounds a bit compressed and the guitars don't sound as strong as they should. That aside, this is an album that delivers a smashing dose of death metal that deviates just enough from the normal to make it interesting.

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