Showing posts with label Black Metal. Show all posts
Showing posts with label Black Metal. Show all posts

Thursday 22 February 2024

Darkspace "-II" (2024)

 

Surprise evaporates into disappointment. After a decade long hiatus, Darkspace mysteriously re-emerge from the void armed with negative two, a singular forty seven minute epic that adds little to their repitour. With a particular breed of cosmic Black Metal, this trio forge dense, unforgiving walls of bleak sound. A droning masquerade of astral oddities channeled through unsettling grimace. Condensed guitars thrum and whir in discontent, bleed with subtle stellar synths to brood an aesthetic mesmerizing an eerie embrace of the vast measureless void. From endless shadows, beastly groans and guttural howls malign themselves with steely tremolo plucked melodies, descending with a sinister stance. Powered on by shuddering, thudding sub kicks, the music groans, burdened by its union with the abandon of an infinite nothing.

The track is suited to ambient appreciations of its darkly flavor, maneuvering between mellowed lurches and impending brevity in bleak lengthy passages. The album feels like three distinct sections with intentional retreats from its darkest plunges. Despite this, the crawling pace didn't birth a sense of reaching anything climatic or conclusive. It simply arises, then sinks back into the black. Not to suggest the ride was sluggish, more of a suspended astonishment that never arrives. I recall being enthralled by their prior effort III I. After ten years hoping a return might one day occur, this record felt as if no time had passed at all, a very familiar sound reignited without a sniff of evolution.

Rating: 6/10

Wednesday 27 December 2023

Arkhtinn "三度目の災害" (2023)

  

 Pulling no surprises, another intense installment of Symphonic Black Metal plunges into a familiar abyss. Using blast beats as its unrelenting propellant, rattling drums steer an unending wall of sound. Screams howl and distortion guitars roar. Choral keys gleam towards the night sky with an undying sense of rising epic. On occasion, glistening patterns of synths sparkle with astral wonder. The music sways, rarely taking its foot of the gas, predictably finding its way back to calamitous climaxes.

The second of its two twenty minute plus halves is more gratifying. The texture of its ferocity a dangerous concoction. Hopeful lead guitars tinge with shimmers of positive melody yet shrouded by a grim blackness. Its followed by glittery ascending, descending cosmic synths, an interesting arrangement stiring the pot on this frightening brew. After calms and void circling plummets pass by, the lead guitars return to unite the narrative, culminating in a last stand full of dying screams and relentless pounding that gives way to a bleak aftermath of pale distortions.

This track defines itself as the better of two but ultimately feels somewhat stale in the wake of all the other albums before it. Arkhtinn has mastered their own sound but now that mastery offers little new other than the comforts of returning to familiar footings.

Rating: 6/10

Friday 15 December 2023

Myrkur "Spine" (2023)

After the aptly name Folkesange, Danish outfit Myrkur return to the Black Metal tinged aesthetics of their origins. Spine muddies the waters with an uncanny sense akin to a "covers album". Like Humans sets this striking tone, the "talk to me like humans do" chorus arises from a rubble of darkly guitar rumblings and morose pianos nestled in a foggy, swampy drone. The cadence and melodies of Amalie Bruun carry an elevated yet contrasting spirit, rhythm and rhyme akin to catchy yet emotive Synthpop.

Continuously, her knack for lyrical delivery evokes this peculiarity again and again. Other elements suggested similar feelings too. The tense, tick tock alike synth lines of Mothlike and its gleaming flush, a rapid melodic guitar solo that erupts from an initial dark rumble, this too felt like a differing origin brought to to serve a peculiar chemistry.

As the album runs, many inspirations are woven into its fabric. A strange mix of hazy subdued extremity and light shining through gloomy clouds. Blazing Sky brings the bloat and bombast of a sludgy Doom Metal riff to the mercy of Brunn's earthly, gentle voice. Again, its illuminating pivot into a catchy chorus gives this unshakable sense of an original piece re-imagined through a dark and contrasting genre.

After many spins and much pointless research, I've learned of this records authenticity and grown to adore its peculiar position. It speaks volumes to its chemistry as these magnetic songs carry multiple spirits in tandem. The band have yielded a record that doesn't fallen into any typicality or genre pitfalls. Gracefully, they brew great music with their own unique spirit. Its been a breath of fresh air to say the least!

Rating: 8/10

Sunday 5 November 2023

Këkht Aräkh "Night & Love" (2019)

 

Another early 90s Black Metal love letter! Unlike its predecessor Pale Swordsman, Këkht Aräkh's first full length seems a fraction too generic among the many who try to capture that era. Its gritty aesthetics are harsh, a crisp coldness splattered with clattering percussion over blurry rumbling baselines. Shriek howls, throaty cries and noisy distortion guitars paint a familiar sight of unrelenting Norwegian darkness.

On this debut outing, an arsenal of all to typical arrangements fail to muster excitement in the wake of all that came before. Despite its competency and mastery of the grim aesthetic, the aggressive stints of loose blast beats, shrill tremolo guitar and beastly shouts from the shadows fail to add to the conversation. It left the project feeling like a typical cast iron clone from an era that many have tried to recreate.

Night & Love, however, is littered with lonely interludes, sullen moments of reclusive beauty. Hints of nature intruding on soft folkish lullabies and ethereal acoustic guitars. They play as a treat of their own between the hard shadowy onslaughts. On occasion accompanied by a tender clean male voice, these sometimes eerie and often melancholic tunes swiftly became the most intriguing aspects of the record.

Its no place for me to say what an artist should do with their music but hearing this tandem of a unique voice, wedged between a clear and shared obsession with early Norwegian Black Metal, has me feeling as if their talents are misguided. Këkht Aräkh has caught my attention with an impressionable nostalgic venture yet they clearly have something else to offer. The two are yet to merge in a fruitful way as I hear it.


Wednesday 1 November 2023

Këkht Aräkh "Pale Swordsman" (2021)

 

Perhaps not a love letter but an embodiment of Black Metal before 94, one man band Këkht Aräkh's retrograde approach is a vivid artistic capture. With both its low-fi aesthetics and raw musical ideals, this project could convince seasoned listeners of imagined early origins. Many of its compositions rehash Burzum and Darkthrone, slipping itself into that era. The later seeming the dominant of two obvious inspirations.

Of course this is a product of our current era. Widespread accessibility and distribution lets musicians peer into the past and examine what might of been. Pale Swordsman adds little to the conversation, the core of its music drawing stiffly from the riffing techniques, drum patterns and arrangements that made the pioneers so unique. Disguising melodies within distortion dissonance, ambushing subtle grooves on top of stark breaks, all housed under a loose incessant rattle of amateur blast beats.

Originality can be found, almost exclusively within its interludes. Sad, lonely, melancholic melodies, these instrumentals conjure a soft dreary romanticism. The tender clean singing of Swordsman steers this into a charming folkish lullaby. Its a character that could have been leaned into, potentially forging a fresh take on old ideals but the two play separated, swaying between one another. An essential listen for fans of the aforementioned but nothing ground breaking, good nostalgic revival.

Rating: 7/10

Thursday 8 June 2023

Soulside Eclipse "Soulside Eclipse I" (2023)

 

 Its been well over a decade since this project was first envisioned and executed upon. Its arrival feels like some form of closure, a haunting memory of unfinished business now laid to rest. On the heals of deep emotional pains, a change of direction in ones life became evidently necessary. The decision to focus on music for a sense of purpose and accomplishment became the goal. No longer would my guitar doodling and ambling forays into songwriting be an idol pass time but become a soul focus. Music had always been the freedom, a lone place of solace that always made sense. This had always felt right among the suffocating confusion.

Although I wanted to branch into many musical styles and sounds, the main "chapters", marked by roman numerals, would be the key ambition. These songs are a materialization of my most engulfing experiences as a musician. The project found itself unsurprisingly akin to Symphonic Black Metal, my youthful obsession of the time. The boundaries of extreme music paired with the diverse possibilities of synth tones created such an interesting terrain to explore, even if much of my own music fell into the typical formats and structures of that scene.

And so for this commentary on my own creation, I wish to give you a track by track insight into what was behind each song, as well as some dates and tidbits. Most important of all, I've spent the last thirteen years periodically listening and playing along to these tracks in their MIDI format. That means sounds synthesized by my computers hardware. I've had to bridge the gap with my imagination, always fearing it might not translate as I heard it. Having worked with producer Enrico Tiberi to bring this creation to life, I can put that demon to rest. I do know however, I would have tortured myself over every little detail if this production had not been in the hands of a professional. Those MIDI demos will be released soon, I wanted to share that experience and let anyone who's curious hear this music as I have done for so long.

The Curse Of The Eclipse was conjured after the inception of this album. Its name signifies my relationship to auditory emotion. As some of the brightest, uplifting vibes the record offers, it kicks things off with its glistening acoustic guitars, bold basslines and light guitar solo. This song was written to serve the albums flow, as the music creeps from this sunny start into the darkest reaches with Black Hordes Rising. Born of guitar jams and time spent toying with acoustic strummed melodies, things came together swiftly for this number with the final phases being written at different intervals.

Anxious Obscurity was born from a low point, a personal pain which hit me hard. My resolution was to turn these difficult feelings into a song. So I went home, sought out sombre chords, reveled in melancholy and threw in some aggression for the anger betrayal brings. It was a fascinatingly focused affair, simply dwelling on the emotion and finding the melodies to express it. I also wrote lyrics alongside the instrumentation. Knowledge of such will illuminate the strange cadence of the synths on this song, they were originally intended to signify the words pacing and pitch, a mix of softly sung sorrows and angered screams over the distortion guitars.

Bury My Soul dates back as far as 2004. It was among a handful of rudimentary "first songs". This one however seemed to resonate with my friends who loved the lead piano melody. That initial riff, synth and piano setup was the whole show. As years went by I would periodically return to it with complimenting additions, figuring out its trajectory and destination over much time. Although it may seem basic among more accomplished pieces on the record, that initial melody has everything I ever wanted to capture. The simplicity is its charm in my opinion and this track along with the next one, best represent the innocence of those amateurish baby steps into song writing.

Emporic Rain, not a typo, dates back to 06. Its a rather ambitious set of scaling, menacing riffs that pummel away with a fiery spirit. Paired with rather strange synths and spots of unconventional drum patterns, at least for Metal. It all converges on a grand rocking riff, laced with pianos to see it out. That ending was written many moons later. Having received a touch of polish and fine tuning over the years, its clumsy amateurish stride is still present, and one I adore. With this track I always felt the passion and vision somehow pushes past my lacking skills of the day.

With a struggle for words, The Elemental Forge is perhaps the "outdone myself" moment. Written almost to completion in 07, its had the most enduring presence. Its origins feel almost mysterious now but I know I was inspired by Dimmu Borgir's Stormblast. Trying to emulate those simple, slower paced, higher register power chords, the song quickly derailed into its own beast, exploring wild extremes with blast beats erupting from a nebula of astral synths, transitioning into rocking power chord progressions and the groovy drum pedals that kick in underneath. Its magic is a strong, persuasive one that sways me to its mercy every time!

2009 now. Nestled somewhere among the peak of my drug abuse and self disregard, in the early hours of a substance fueled party I found a song emanating from within. What started as guitar doodling quickly funneled into a vivid vision, lavished with multiple synth tracks, pianos, guitar solos and more! Like a man possessed I commanded the computer in the room for many hours until the sun rose, writing all the instrumentation into Guitar Pro, the software I used to compose then, and still do to this day. I imagine a few touch ups came in among the following days but this rapturous plunge into darkly majestic wonder simply poured out of me in a single night. It seems it was a moment of Arcane Pandemonium! Perhaps... I made that up just now, the song name just simply sounded cool, in fact it was originally called Imperial Wizardry, a joke name. The later originally being called Diabolical as well. When first committing the music to a file name, I just throw down the first thing that comes to mind and decide on a proper name later on.

The record has steadily grown deep and dark, this next beat dares to venture further. Written in 08, Black Hordes Rising started as an exercise in extremity, a dare to be wild and cunning, pushing my writing to new heights. Deeply inspired by Emperor's Anthems To The Welkin At Dusk, studying its composition gave me all sorts of ideas and new takes on song writing. That clearly manifested here. I also got to throw in that guitar fret tapping lick as the song transitioned into a pummeling grind for its outro. That one had been in my arsenal for quite some time. The track also housed a ridiculous inhuman blast beat that had to be creatively substituted for this record, you will get to hear the original idea when the MIDI demos are released. The attached synth at the end is known as "conspiracy", a doddle from learning FL Studio that I found really captivating. It serves as a curious oddity to break the mood before our final track.

Written in 09, My memory of Ensl is strangely foggy. Or at least writing the guitar solo is. The name comes from a musical session where I was trying to emulate chemistry from an Enslaved song. In my futile attempts, I fumbled onto something totally different, a series of discordant riffs with a lovely warm uplift from the baseline. The song cruises through these riffs in a repetitious notion, reveling on the throbbing drums. The flushes of lead guitar, its eruption into a solo and looping outro gave the whole song such a beautiful character. Its place at the end is perfect, pivoting from the Symphonic Black Metal template into its own Shoegazing stride to see out the record with a climax echoing some of the vibes laid out at the records opening.

And there it is, a track by track breakdown of the record. Where do we go from here? I just don't know. What initially suspended this project became the very thing to finance it. All the other paths that could of been walked, who knows what musical creations it would of led me too. What I am certain of is the great weight that's been lifted. Strangely, It doesn't matter to me how far it reaches or if people love it as much as I do. There is a great peace in just knowing it is out there in the world for others to discover. Why I could never be content with keeping it too myself is a question I have no answer for. What is expression if no one else hears it? Perhaps that is the reason why.

Tuesday 23 May 2023

In The Woods... "Diversum" (2022)

 

Reveling in glum and stormy scenery, drizzly guitars moan and slumberous singing swoons to be routinely assailed by gleams of heathen melody. Diversum is another glorious gallop through the rainy seasons of Scandinavian inspiration. Now three albums deep into Anders Kobro's unlikely resurrection of a historic yet niche Black Metal outfit, five years pass for In The Woods to return with a familiar tone and theme.

Exploring the relationship between shrill guitar distortions and dreary acoustic melodies, burly melodic singing and howling screams, careful grooves and flurries of blast beats, its craft is a familiar one. Ancient story telling and natural scenery, elicited through dynamics as plunges of aggression and abrasion sway in torment of its tuneful appeal, always sullen and bordering on the bleak. It allows for many a gratifying moment as relief from key persuasions that arise from gloomy tensions.

Occasionally they delve into the metallic fray, focusing on a grizzly groove or mean scream. Otherwise its best comes from the melancholic wallow as its uplift feels locked in a wet naturalist hardship. Overall Diversum has the lighter composition, yet an aching moody temperament. Kobro's tamed voice soaring is a beacon shining through fog yet in his stride, a uncanny Mastodon resemblance often emerges.

Despite a welcoming duration and competent execution, this one somehow shies from greatness as the dreariness drowns out the catchy music wedged between its dynamics. It doesn't fire on all cylinders. For all the welcome familiarity for a band I'm fond of, the spins started strong but waned as familiar footing fumbled to dig in deep. An enjoyable experience in bursts, but one that lacked legs to go the full distance.

Rating: 6/10

Sunday 2 April 2023

Enslaved "Heimdal" (2023)

Although finding myself not particularly in the mood for Metal as of late, Enslaved's track record of recent years had me curious at the least. No longer the same cult Black Metal band born among the Norwegian chaos of the 90s, they have continued to offer intrigue and magic as matured musicians. The once teenage founding friends Kjellson and Bjørnson are still going strong, now on their sixteenth full length!

Heimdal offers up a curios contrast of harsh excursions that drift, pivot and meander into uplifting spells, often spearheaded by its symphonic instruments, clean vocals and brighter compositions. Once accustom with its dances, the bleak distortion tones and gruff throaty howls that accompany bite less with knowledge of their destination.

Congelia possesses my favorite enchantment, marching forth, relentlessly. Stiff, ugly, grim riffs dance against hypnotic palm muted chugging. A harsh drive that is suddenly flipped, simply entrancing upon the arrival of gleaming keys. Its spacey melody echos with subtle psychedelic ping pong fade, transforming the song from its bestial grind.

The following Forest Dweller takes a different approach, starting with the lull of its soft atmospheric folk. Conjuring visions of a harder life, in endless wilderness, among ancient spiritualists. Suddenly, the music whips up into a frenzy of hasty roaring aggression, plundering us into a whirl of riffs, reminiscing classic Black Metal ideals.

As the album grows, more of its Progressive and melodic approaches get pinned against their extreme unruly origins, a dance across the fire, flirting with the prospect of getting burn. The variety is gratifying. A fascinating fluid chemistry among obvious contrasts. The Eternal Sea is another keen example. In one moment its sea bearing temperament of adventure, uplifting and glory, propelled by heathen singing ascends. In the next, its as if the world has been set ablaze by demonic forces of old. Heimdal is a worthy listen, these seasoned musicians continue to provide luminous music, managing to say a lot among sounds tired in the hands of others.

Rating: 7/10

Saturday 18 February 2023

The Ruins Of Beverast "The Thule Grimoires" (2021)

 

Fancying a dip into darker realms again, a name from years gone by caught my eye, the German one man band known as The Ruins Of Beverast. This sixth installment, The Thule Grimoires, is softens its blow by the crisp sweetness modern productions offer. Its a blessing, an alluring warmness emanates from once shrill guitars and howling blast beats that pave a familiar path, cushioned for an attentive focus on its unruly surroundings. As the musical intensity unravels, oddities emerge at frequent intervals. An intentional alien darkness manifests, with esoteric rumblings ushering in the dusky realms of nefarious deity worship and pagan hardships.

Toying with slanted choral chants, hazy descending guitars awash in reverb and demonic gutturals, convention breaks into hellish limbos of ambiguity. These occult atmospheres come drenched with unease and tensions not aimed at the listener. Its quite pleasant to experience such crafted balance. This peering into demonic depravity plays like an observer watching mystic rituals from a distance.

Although most of the length record resides in this creative space, with a healthy range of compositions, on occasion the music gets tangled in bright melodic leads that don't quite express their purpose to this listener. A small blemish on a solid record I just haven't been in the mood for. The dark arts are not as charming with age.

Rating: 6/10

Thursday 1 December 2022

Dimmu Borgir "Dust Of Cold Memories" (2022)

 

With a lyric plucked from Absolute Sole Right as its title, Dust Of Cold Memories accompanies the recent Remixed & Remastered celebration of Puritanical Euphoric Misanthopia. Comprised of two halves, The Kolbotn Tapes and Prepod Session, these aged, degraded demos offer a curious insight into the albums creative process. The five Preprod songs are most intriguing. Recorded before all elements had converged, they play with many missing pieces and placeholders around its core musical ideas.

One of the PEM's finest crafts, Blessings Upon The Throne Of Tyranny, stands apart in its nakedness, the arsenal of razor grinding riffs completely absent. Hearing it at this stage illuminates their creative process. We see etchings of inspiration converge not unlike how you might of expected. With such a riveting rhythm guitar performance, I would of strongly guessed it was central to its formation but apparently not so. The other tracks aren't as insightful. One can hear absent contributions and entirely dropped ones too but mostly these songs arrived at this stage relatively fleshed out.

Of the Koltbotn Tapes, Fear & Wonder stands rather distant from its final incarnation with a persistent militant snare and bare piano chords. The other five arrive in varying fidelity. Loud clicking drums, occasional shouts and voices are heard, along with roomy rehearsal room ambiences being a common trait. With the songs fully formed out this point, they simply play like demos prepared before entering the studio.

Rating: 4/10

Sunday 6 November 2022

Dimmu Borgir "Puritanical Euphoric Misanthropia (Remixed & Remastered)" (2022)

 

You'd be hard pressed to get me excited about a remaster or anniversary release. My radar for its release was off, given the prior Puritania Kolbotn Tape was little to marvel at. It was only with a nudge from a friend that I leapt to check this project out. Not only a remaster of Puritanical Euphoric Misanthropia, its "remixed" naming has given the band creative license to expand the aesthetic pallet with sparkly new embellishments, adding a little spice to a familiar flame. Initially, it sounded utterly brilliant, an invigorating listen but is simply the magic brewed between enjoying a masterpiece.

With the dusts of adrenaline settling, its clear my excitement resonated from the familiar genius music I adore. Its polished edges and sprinklings of additional new instrumentation never steers the song writing to new avenues. Perhaps with one single exception, Shagrath's vocal treatment makes him far more audible on Puritania. Something about it has an edge. Otherwise, much of the music remains intact with a few guitar leads seemingly given extra notation, unearthed or added its not quite clear.

So whats changed? The mix is expansive, more room to breath and enjoy its textures. The drums are crisp and punchier, the battering of Barker's blast beats compliments, rather than imposes the demanding pace. Rhythm guitars remain mostly as is. It sounds as if the other instruments have given it more space, sounding mostly the same, its leads have a little more gloss and flair tho. Where most the action happens is with the Symphonic component. Practically every synth has been given new life. Either better sound banks or recordings of stringed instruments they sound revitalized.

Across the record, one will hear a few additional sounds, some previously smothered and others clearly new. Synth tones, stringed instruments and soft horns arose but most notably an effeminate voice chiming with Shagrath on Architecture Of A Genocidal Nature. That and the creepy haunting chorals that lurch through a few brief instances. None of it amounts to much more than enjoying the passing novelty.

Ultimately, its a fun reason to enjoy an old album again but is it necessary? Compared to the original recording, the limitations of the times are clear. All changes here beyond remastering are a good fit, however the song writing is champion. If you'd spin the original I'd still enjoy it just as much. Obviously Puritanical Euphoric Misanthropia a ten but on the merits of what this project brings, It's hard to argue too much is gained beyond the initial novelty. This is certainly not a folly that's for sure!

Rating: 6/10

Wednesday 17 August 2022

Abstract Void "Wishdream" (2021)

 
 
Venturing further into the union of Synthwave and Black Metal, we find elevated production aesthetics that I'm not entirely sure aids the experience. My main gripe is with the vocals. On Back To Reality they served as an incessant groan, elongated barks of discernible noise. Not as intrusive, Wishdream's strides for clarity has the shouts and blemishes of ambitious drum programming break the illusion on occasion.

Otherwise Its a similar animated experience again with little to comment on in terms of progression and direction, its another seven tracks of nighttime adventure taking periodic plunges into the abyss. Glossy, luminous synths and flickering melodies eventually give way to metallic grooves. Dense distortion guitars are notably reserved, leaving much of the colorful charm with its energetic key arrangements.
 
Each song blazes along with similar arpeggio melodies and sharp synth oscillations. A few keyboard solos give some context to direction but rarely does the attempts to break the mold feel gratifying. Beyond the appeal of this union of opposing style, Abstract Void doesn't quite land on anything deeper with this next chapter, even though there is potential. Wishdream essentially serves as more of the same, fitting for the right mood but rarely breaking ones attention with its ambitions.
 
Rating: 6/10

Saturday 6 August 2022

Arcanist "Hyperborea" (2022)

 

 Through forages of retro psychedelia synth know as Berlin School, and an artistic encroachment upon the forgotten dusty crypts of Dungeon Synth, Arcanist firmly caught my attention with their stunning debut Poseidonis. My knee jerk reaction to Hyperborea waned after a sour taste induced by spurious inclusions of esoteric Black Metal and sludgy abominably Doom Metal. As successive repetitions settled spirits across its four epic songs, I grew to love how musically ambitious this record is.

Unwilling to rest on laurels, Hyperborea brews its story telling with cinematic stride to journey vast and various musical landscapes. Unruly lulls of Dark Ambience hold over its forays into Medieval and Heathen acoustic folk. The aforementioned metallic spurts scale the summit as its valleys are navigated by captivating synth solos in the spirit of Progressive Rock. Best of all, The Coming Of The White Worm's plunge into the cosmic has another delightful reminiscence of my treasured Oscillotron.

A flow of engulfing atmospheric magic gushes forth, with sudden splashes of color, wild twists and dramatic soars along the way. Despite having different temperaments and aesthetics, the music is guided wondrously as these distinct musical spaces get woven together in a single narrative. It has the pay off only an album experience can offer as one traverses its eerie, bespoken wanderings into lavish drips of exotic synth. Ending on a loud and frightening conclusion, I am often startled, awoken to start the adventure over again. Its has been one of the best musical experiences this year!

Rating: 9/10

Wednesday 27 July 2022

Abstract Void "Back To Reality" (2018)

 

What do we have here? A Synthwave and Black Metal crossover. Is this possible? Anything in music is but that doesn't always lead to success. In the case of Abstract Void this union of styles is slick and smooth, a luscious mix of glossy synths, dense guitars and distant shrill screams. Together, they steer Dance grooves into aggressive plunges as Back To Reality gradually layers on the intensity in its opening stretch.

The atypical night life, neon light vibes finds its balance with an atmospheric approach to Black Metal where slow, lunging Shoegazing melodies bridge the gap in composition. Percussion steers the music into its extremes as drum patterns rattle into blast beats and the like. Consistently emanating dazzling melodies from the layered keys, each song has quite a luminous presence. Glistening in its well crafted resonance, they venture to emotive the grandiose with its epic scaling melodies. Very satisfying.

The harsh yet muzzled screams feel like an afterthought. With such synthetic vibrancy steering the musics mood, the vocals arrive like discernible blocks of noise barely contributing to anything rhythmic. Its a minor blemish of wonderful chemistry that does feel somewhat obvious in retrospect. Although a brilliant union of distant realms, its played down the middle, nothing unique or unheard emerges as a consequence. With a little more adventurous spirit this could of traversed new terrain but to these aged ears it mostly resonated with solid ideas heard many a time before.

Rating: 7/10

Friday 27 May 2022

Blut Aus Nord "Disharmonium - Undreamable Abysses" (2022)

Not every band has to bring something new to the table, especially when in a stride most appetizing to the listener. Blut Aus Nord's latest rapture of nefarious psychedelic hallucinations was initially intoxicating but in the shadows of unflinching familiarity, tit turned into a moody slog of unruly madness, churning away in the background. That's not to be dismissive of Disharmonium, its charm simply wore off rather swiftly.

If not familiar with this sound however, it would be a welcome invitation to the maniacal delirium these French veterans conjure. Far evolved from the fundamentals of Black Metal, the duo compose unraveling sways of reality shattering sounds. Their unsettled atmospheres brood through melodies that slip through the fingers, melting away through pitch shifts as if physical reality is falling apart. Its a few keen ideas that foster this rich, dense tapestry of mental mood, always on an unpredictable move.

Slow and meandering, ever shifting direction, the percussion rarely holds down a groove or pattern for long. It too sways in stuttering intensity, following the cues signaled by its bleeding, oozing wash of melody. The duality is wondrous as the dark unrevealing of damaged consciousness is explored within bleak walls. Despite the record having a rather consistent aesthetic and tempo, the ideas explored are so well executed that its seven songs serve one continual plunge into the abyss of the mind.

I'd struggle to pick out a favored song, or even moment. It feels as if everything has been crafted to offer no anchor or reference points. You are always in the perpetual motion as demonic voices call from the depths of its lofty tone. So to do swells of high guitar notation sometimes puncture through, however its no bright guitar solo but often a breakout expression that is swiftly engulfed. I love the maniacal madness this pair have created, this one was fun but as described quickly lulled in its familiarity.

Rating: 6/10

Saturday 7 May 2022

Old Man's Child "Slaves Of The World" (2009)

 

Its end of the line for this nostalgic Old Man's Child dive. Slaves Of The World is one I barely paid attention to upon release, so its re-visitation plays like new material. Galder essentially plays his game again in a more metallic package of dark and groovy Symphonic Black Metal. He pulls all the expectant chops and tropes out of the hat. Mostly led by the guitars, the music pivots in and out of dark perilous plunges through blast beast beats and finds bounce and symphonic melodies as counterpart.

Its nine tracks tend to differ little from one another in the ability to impress. The tone is set swiftly and the tracks meander through the motions where certain riffs and sprinkles of melody might tickle your fancy. One key distinction is Galder's vocals. Much meatier and more guttural driven, his shriller howls and raspy shouts give way to a deeper range deployed with overlaps and reverbs to much theatrical effect.

With new material potentially on the way after over a decade of silence I will be excited to see where Old Man's Child ventures from this chapter. Unfortunately Slaves Of The World resides as a run of the mill record for the naughties sound. I can't speak ill but the record just drifts by. Great if in the mood but otherwise a swirl of dark symphonic background noise churning through its own cliched motions. What the band needs is a stylistic evolution as this territory has been thoroughly explored and conquered!

Rating: 5/10

Tuesday 19 April 2022

Old Man's Child "Vermin" (2005)

 

On the first few spins, much of this record felt fresh to a long forgotten cast. As a reminiscent familiarity set in, fond yet faded memories of its existence began to re-emerge. This was then the newest of Galder's records to be released in the prime of my time enjoying his music. Somehow, it ended up over shadowed by the rest of his records. Revisiting it has been a pleasure, a lost joy I've re-acquainted myself with.

Strangely though, I feel I have the least to say about this record. Following his peak, In Defiance Of Existence, Galder's next move was a symphonic embellishment that has Vermin feel more like a bridge between the aforementioned album and Revelation 666 - The Curse Of Damnation that came before it. Despite my adoration of Revelation 666, it does admittedly drown in the rich symphony and over production.

Vermin is measured in approach, taking the refined song writing of In Definance and bringing a visibly more involved orchestration of darkly synths to its atmosphere. It does however frequently turn to the bombastic throws of evil Metal. Its big riffs are pitted against a careful arrangement of sinister melodies and devious guitar work. The momentum is splurged on simple breakdowns, often drenched in keyboard symphony.

With a lack of stand out moment, the shorter record plays through the defined Old Man's Child sound without anything experimental or unexpected. Perfect for a mood but lacking in anything to grab your attention otherwise. It does dabble with a brief cinematic sound design track to end off with. Its descending tone, hinted at in its titling, is a brief stint but hardly makes a lasting impression in new territory.

Rating: 7/10

Wednesday 6 April 2022

Erang "A Season Of Leaves" (2022)

 

The final of five, A Season Of Leaves was the least enjoyable for me. With a misdirection of soft bells at its opening, the music crashes in hard with the Summoning's blueprint. Distant hazy distortion guitars bleed over thunderous drum strikes and shrill wretches of screams chime over a counterpart melody played via the bright key tones. With breaks from extremity led by a deep, epic narrative voice, the Tolkein vibes emanate. Admittedly, its a competent piece of music but the lack of originality leaves me with a sour taste.

From here the format is stretched, pushing the ugly Black Metal in sideways directions and fusing with more Erang-like folkish instrumentation. Its a true mishmash that reaches a low on Le Loup, La Chouette Et Le Vent. The sloppy extremity has no candor. The final track actually finds some fascinating chemistry in stints. The racing drums batter along with thees ascending chorals in the backdrop. Its momentous and rallies to an esoteric realm as zany synths wage in. Without cohesion though, it falters.

Ultimately, this was a brave release to put out there as an artist. Making bold decisions and striving for something different, its five seasons offer up a lot of intriguing musical ideas. In places in sparks, in others it falls flat and that might be down to preference, or simply artist fatigue as the traditional tropes lay all to bare for me. Either way I am glad Erang keeps pushing on! This was quite unlike any other listening experience I have had in some time.

Rating: 2/10

Tuesday 5 April 2022

Erang "A Season Of Frost" (2022)

 

Home to a song that really turned me off, this quintuple of mini albums hints a rough patch with A Season Of Frost. Les Sentiments Puissants has Erang delve into Black Metal aesthetics with a style I simply can't enjoy. The influence and direction becomes more obvious on the Leaves chapter but here the lone track shows its blemishes boldly. Tape stretched synths and other garish tactics are deployed to descend its decrepit direction into the unruly strangeness of uncomfortable listening. The song is miserable in nature but rather than offering immersion the production slaps one in the face with its stark ugliness.

The other three tacks happen to be the least interesting non Black Metal types. They stand firm to the gloomy early chapters, ones very enjoyable when fresh over ten years ago. All this time later it feels over explored and stagnant. Opening with At The Gates Of Lobrok, its steely build of atmosphere has a little momentum groaning for whats ahead but its dungeon spirit drops off at the arrival of brash howls and a stiff distortion guitar. Sadly, this and the next chapter did not work for me.

Rating: 3/10

Thursday 31 March 2022

Old Man's Child "In Defiance Of Existence" (2003)

Having now joined the ranks of longtime friends Dimmu Borgir, Galder returns to Old Man's Child with a masterstroke of composure. For all his bold and gallant melodies, the darkly power chord shredding and blushes of symphonic might. On this occasion, his ideas arrive united with a seamless cohesion as the enjoyable yet cheesy and simplistic pleasures fall wayside to musical ideas executed with vision and purpose.

From start to end In Defiance Of Existence drives its devious themes with intent that delivers many remarkable outbursts of color and energy between the foundations of extreme metallic intensity. Pivoting away from pure power chords, Galder unleashes his new found tremolo shredding heard on Puritanical Euphoric Misanthropia. He also revives the Spanish acoustic guitar to great effect, complimenting the distortion guitars on occasion and gracing us with the stunning interlude In Quest Of Enigmatic Dreams.

So much of the albums pleasures derive from the simplicity of composition. Subtle background synths enrich fiery guitar riffs. Galder's screams are measured, deeper in tone, essentially subdued forms of the raspy howling serpent that came before. The distortion guitar texture is gorgeous, a thick and versatile tone that doesn't overpower. Best of all its drum aesthetics are on point. The snare snaps, the bass kicks pop. Sounding crisp and sharp, its fit for any blast beat or bouncy groove that is demanded.

There is a question to be asked, how much this fine production shapes Galder's music? To my ears, a shift is present in his writing style. He seeks out gratification through a songs trajectory, with frequent luminous, wondrous guitar solos and climactic riffs built up to with craft and care. The keys do drop in with big melodies on occasion but mostly they follow the growing momentum of a track. There is a variety of tones too, sometimes exchanging its roll as the lead instrument. With this approach the nine songs have a lot to offer without a single weak spot.

Its clearly Old Man's Child's finest hour, a nightly ride of fiery, fun and passionate Symphonic Black Metal. Its extreme yet appealing to the warmer sensibilities of melody and rhythm than its evil theatrics suggest, like much of the back catalog. With news of another album in the works, I hope the absence brings Galder the inspiration to reach these peaks again as this record is an affirmation of his musical brilliance.
 
Rating: 9/10