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

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 

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

Nový Svět

 

 

Nový Svět are one of groups who do whatever the hell they want. They play an interesting fusion of neo-folk and industrial and certainly don't shy away from experimenting. The combination is surely a little strange but there's definitely enough to grab your attention. Enjoy the experimental mishmash that is  Nový Svět

 

 

Discography