Covenant "In Times Before The Light" (1997)

 

Following up on From The Storm Of Shadows, we arrive three years later with a debut record cast from the mold of an emerging Symphonic Black Metal scene. Unlike the stylistic evolution an of Enthrone Darkness Triumph, the duo stuck with a primordial Norwegian sound paired against its bold and cheesy Casio synth tones. Effective in execution but cornering the music to its niche, one which I happen to enjoy greatly.

Firstly, all three demo songs make it across to the album. The production is a clear step up too, everything audible but also a charming mess of gritty distant guitar tones and bold, punchy drums and keys entering a somewhat forced relation that carves its atmosphere with varying effect. Over it all shriek cries and howling raspy screams offer less immersion and more concept born of genre conventions.

Ultimately its aesthetic works and achieves an entertaining darkness fostered by antiquated medieval and fantasy themes articulated through its simple, often singular synth lines. A few tremolo guitar riffs perk the ears beyond the usual rigmarole of darkly power chord arrangements and plunges into blast beats that comes with the territory. Its with a varied outcome that the bands songwriting fumbles for a few tracks.

The stiff nature of its keys, punching through the mix with a lot of power, often accentuates a different character, one to become evolve greatly on the galactic leap forward that is Nexus Polaris. It gives many of the songs passageways that dispel magic purely on tone and nature of the melody. At the same time it also houses some fantastic chemistry, although a little limited give the lack of layering tones or melodies.

Monarch Of The Mighty Darkness a keen example, its opening doomly gloom a memorable one. Late in the song its medieval leaning arrangements forge an uneasy awkwardness alongside the shrill throaty howls of Nagash. The Dark Conquest has a similar problem, slow and menacing in its brooding opening yet meanders from the path has the keys differ with vibrant flute tones. All in all its a flawed record that has enough charm to carry it along. Will be fascinating to explore it again through the lens of its re-recording.

Rating: 6/10

The Alan Parsons Project "I Robot" (1977)

 

British rock duo The Alan Parsons Project have admittedly been on my radar since before I started this music blog. Of the three records I own, any song cropping up on shuffle would grab my attention. How its taken me this long is criminal but for the past month or so Ive gotten deep into I Robot, their sophomore effort. Hailed as Progressive Rock, what is remarkable about the music is how much it reaches into the adjacent sounds of the 70s. With a luscious string section, these compositions often get a graceful lift into the cinematic realm. Its rumbustious baselines hit Funk and Disco grooves with class. The short experimental interlude Nucleus enters the Ambient Soundscape realms akin to Dreamtime Return released eleven years later.

What they touch, turns to gold, but not without echos of others who walked before them. The breezy lullaby of Day After Day reminiscent of Genesis in a vulnerable song and I Wouldn't Want To Be Like You is practically a Stevie Wonder track hands down. As said, its golden. The duo forge timely songs ripe with vivid instrumentation and holding song structures to make it work wonderfully. The variety is plentiful, dipping into emotional ballads, flushes of early Electronica synths, plenty of Progressive Rock cliches and the audacity to experiment boldly. The song Total Eclipse uses a choir of haunted soul voices to cascade with unease through nail biting tensions as it plunges into fiery depths.

Perhaps suggested by its variety, the structure is loose, moving through drastic shifts in tone that seem effortless with the aid of seamless transitions, pivoting the instruments between songs with organic handover passageways. It ends with Boules, a bonus track of sorts rocking a "phat" baseline with a tight reflexive drum loop and accompaniment of strange noise oddities. It always struck me as a Hip Hop beat in ways, further suggesting the duo had a finger on the pulse with the splash of current sounds the record embodies, although Hip Hop might be a bit of a stretch with the New York scene at its absolute infancy in this point in time.

One thing that stains the stunning music is its theme. I Robot attempts to engage with the concept of artificial intelligence from a heavily dated perspective. Compared to the current discussions around AI and its partial implementation through algorithms and machine learning, everything pertaining to the concept just seems out of step, however the vocal efforts of the band it comes through are wonderful. Barely a crease to be found beyond its timely blemish. Lastly, I'll end on a musing note. These two never found commercial success in their home town, shipping most their records in Germany, USA and Canada. Its something I find rather curious given how British acts tend to be well known here but the Alan Parsons Project has sadly faded from focus since their retirement over two decades ago.

Rating: 9/10

Earth "Earth 2: Special Low Frequency Version" (1993)

 

A recent revival of Hibernaculum and The Bees Made Honey had me curious about their pre-reformation works that had been heaped with praise. As a curious teenage enthusiast, this record had left me dumbfounded to what the fuss was about. Now, with open mind and ears I find myself with a similar sentiment, although context may play a roll given what this anomaly may have meant to listeners back in the nineties.

With three gargantuan songs totally seventy three minutes, Earth 2 strikes me as more of a singular experiment in tone than anything structured, planned or even designed. This is Drone Metal resembling very little of Metal and much of the drone one might associate with engine noises and electronic buzzing. The entire musical piece is a wash with the dense, drowning, fuzzy flood of guitar distortion cycled with amp feedback to muzzle anything that happens to wander across its bleak path.

Admittedly I can comment there is a strange charm and allure to the droning noise but is it a work of genius? I suspect not. As background or foreground music it is mostly grating and is best enjoyed when entirely distracted from its presence. Perhaps its just not my cup of tea. I understand the appeal but the particular aesthetic at play here is mostly a discomfort that feels pointless to endure its unsettling presence.

With Seven Angels, a lone guitar deploys burly riffs reminiscent of Black Sabbath on loop. Slowly chugging palm mutes and rising to chord slabs with slices of short melody, it stands aside for offering something to focus on yet feels unremarkable to me. The second track shifts aesthetics slightly, the guitar work goes in a moody direction but ultimately its emotions are smothered by the droning, dirty sludge.

 Its not until Like Gold And Faceted that we hear drums, slow, temporal and disappearing for tempo shattering duration's, they barely crash through the wall of brown sound. At the hour mark, a scream can be heard and before it, a little lead guitar but as mentioned, these events do little to conjure purpose or intent. I must say, it does sound like cryptic rumblings are woven beneath the drone at times where its consistency breaks and cracks of something else is heard, undecipherable.

The whole thing seems like an unplanned session hinged around the concept of smothering the listener in blistering feedback for an unreasonable amount of time. Its spontaneous blurts of additional sound seems disconnect and purposeless. If there is magic to be found here, it has certainly alluded me, although I suspect the aid of hallucinogenics might yield different results for those who use them.

Rating: 2/10

Brelstaff "In Human Terms" (2021)

 

Brelstaff, formerly known as Daryl Donald, throws a fresh "beat tape" our way. At twenty tracks, it runs deeper than usual with similar duration tracks ranging from one too three minutes. Anticipating demo quality, or unfinished ideas, I was pleasantly surprised to find an excellent array of beats loosely framed by the snippets of past time American gangsters talking while running their criminal errands. Its a niche charm for timely compositions that rides the dynamics of Jazz Hop and dreamy instruments sampled against the loose yet snappy boom bap nineties drum grooves.

Through its many temperaments, shades of experimentation lean mostly towards a Noir Jazz flavor with relaxed, indulgent tones that get a little summery here and somewhat darkly there. Often with a slight psychedelic, dream like tone, the music memorizes with its laid back approach rubbing of the punching groove of snare and base kick. Its all atypical yet has this character I can't quite put the finger on.

My thoughts are rather similar on each outing with this artist who has figured out there form. These beats need a voice to elevate them too the next level. A progressive or fluid motif is missing to have them work solely as instrumentals. Although very enjoyable they feel as if the right rapper could work wonders over them. Not Enough Crime, a favorite track of mine, the perfect framework for some verses and a hook to further the already animated instrumental. Overall, its a great little gem to enjoy.

Rating: 7/10

Anna Von Hausswolff "Ceremony" (2013)

 

Stepping backwards in time, we arrive upon Swedish songwriter and Organist, Anna Von Hausswolff's sophomore record. As The Miraculous hinted, the engulfing esoteric gloom and might of her burdensome terror had yet to emerge. Ceremony feels rather undefined in its direction, closer to musical traditions stemming back to the 70s with songwriting, moods and templates that are yet to diverge from common and folksy sounds. Darkness is the flavor she brings but in this outing its just a shadow of the witchery yet to be discovered, more of a still and sombre grayness gently cast.

Interchanging her operatic voice with pipe organs and an array of string instruments, these calmed song temperaments gracefully cruise by. The second song Deathbed is the one track indicating her future direction. Its bludgeoning Doom Metal drone and grating guitar chords spell horror between her voice and colorful organs giving pause for light. The record then meanders into a string of bare and minimal musings, before traditional elements emerge towards the end, tethered to her subtle gloom.

I could get deeper into the particulars, her voice and instrumentation echoing strong feelings from many a musical style and artist heard before but that alone was the key take away. Rather than striding into new territory with something to shock and awe, at this stage Anna was still finding her feet, writing wonderful songs that have been enjoyable and even moving on its better tracks like Ocean. Ultimately though, its all a bit infantile in the shadow that her future self will cast.

Rating: 5/10

Devin Townsend "Ghost" (2011)

Is it possible to completely forget a record? Of course, butt one you have great adoration for... Well that was me a while back as the lengthy, wandering Texada song comes on shuffle and an eerie feeling washes over. Prompted to give Ghost a proper spin again, it occurred to me its been a criminal amount of time since it last cross my mind. How many years had it been? I felt as if I was looking in a mirror and slowly recognizing my own reflection. The experience was a revelation of locked away memories, the key turn clicking as each track brings a flood of familiarity and feelings. This album was once my therapy, a force of calm to visit in times of need and yet somehow it had drifted away from me, despite all of its beauty and charm.

To me, Ghost feels like a further exploration of the magic Ki offered two years back. Stripping out the metallic grooves and sailing into the lofty indulgence of his deeply reverberated guitar tones, the inclusion of soft airy synths, dreamy electronic ambiences and the dynamic woodwinds of Kat Epple, illuminates a wholesome spirit most these songs embody. The opening is strong, Devin unloads his passionate pleas, gushing emotion forth in the wake of serine atmospheres and rapturous melodies plucked from his bright acoustic guitar. Its fine song writing, wandering in and out of soothing ambiences with himself and Katrina Natale swelling in the rises of voice and melody that form structures within the flowing river of sound.

The web of instrumentation is stunning, dense yet inviting, one can get lost of the layers of soft sound that breeze by. Dave Young's key work with the synths add an endless sparkle of cosmic curiosity with the psychedelic electronic tones he interweaves. The percussion from Mike St-Jean is timely and measured, complimenting the wondrous direction the music steers in. Retreating in its lulls and subtly rising in the surges of song writing, its a performance that understands exactly what the record needs, a textural performance of craft and softness.

Sadly, I feel as if the record falters in its length. At seventy minutes its initial pattern meandering between swooning atmospheres and bursts of life gets weight down at the mid point. Its with monsoon that the tone pivots to the exploratory. With a brief pull back to the spirited rise of traditional song on Texada, and again with a bit of a miss on Seams, the latter half falls victim to its calm as much of the genius in the first half leaves its lengthy final cuts with less to offer, hiding in the shadow of greatness.

Healing is the word I'm left with to describe this record mood. Its a therapeutic experience and a curious one to rediscover again. Its as if it never left but now with the tentative ears of an enthused listener, keen to analyze my own experience, I realize that genius is rare and can be exhausted. I have immense adoration for Devin and his unique sense of inspired identity that comes with his music but he is human after all. It feels like this record was left to fizzle out after hitting the mark aptly with its string of opening songs. Either way I am glad to of found this treasure again.

Rating: 8/10

Emerald Web "Dragon Wings And Wizard Tales" (1979)

 

In recent years my Dungeon Synth curiosity has led me down interesting avenues. Fantasy music, Folksy Ambient works and the Psychedelic inspired early Electronic sound of the 70s. They all seem to have an intersection with this curious record that has outdated much of what Ive discovered, unraveling more of the unending map of musical influences. Id never heard of the Husband and Wife duo Emerald Web before, until hearing them appraised by Devin Townsend on a recent podcast. Described as New Age music, I wasn't quite sure what to expect. The promise of flute led songs had old prejudices suspecting I wouldn't enjoy this but for many of my recent discoveries, the likes of a Jim Kirkwood, this dimension has been opened up for me to explore!

What I have discovered here shares much of the mystique for natural beauty and nature I have come to adore in music. It emanates from an inner warmth and inspiration, carried on a care free breeze one can relax deeply to as its Flute is played with a force of personality by Kat Epple, who lends her soft voice too. The woodwind instrument is graceful and timely, drifting in like a leaf caught in the breeze, she swirls and swings through lively iterations between swooning on the soft cloudy texture of its notes, gracefully cruising by with a captivating gleam that I just adore!

Dragon Wings And Wizard Tales moves through many compositions, focusing on melodies from gentle acoustic guitars to creating scenic visions with innovative synths and a little soundscape work between with the blowing of dusty winds. It meanders beautifully, straying subtly into moments of wondrous experimentation that feels ripe of the heels of Progressive Rock. One of its best songs, Chasing The Shadowbeast, a nine minute epic, captures much of what the record offers through its expansive tale that swells with energy and Post-Punk baselines in the end. It gets there through a warm and steady build up resonating on some strong King Crimson vibes.

Leading up to that climactic moment, each of its songs feel like little flowers of inspiration, blossoming in their exposure. Flight Of The Raven captures a little esoteric melody and animated electronics in its conclusion to give a sense of seismic event. Twilight gets scenic with the chirping of birds with its dusky, spooky synths whirling like winds. It all comes together on Firenight as the driving force of its Psychedelic electronic bass line carries the aforementioned ideas on a journey to a full formed entity. The darker side of there sound reminding me of Erang in moments.

Lifeforce Celebration is another standout track as its choppy percussion fading in and out of focus echos of ideas all to common now in music but here a true force of originality. Its so intriguing to put these ideas in the context of the year they were released. Best of all, the music is endearing and has been a constant delight. At only thirty six minutes, its been on repeat a lot these last few weeks!

Rating: 8/10

Burzum "Thulêan Mysteries" (2020)

 A year late to the party, this supposed final album from a musician of genius, wrapped in controversy, encompasses ninety minutes of estranged, spiritual and Nordic inspired ambient music. Labelled as a compilation, I initially passed it up. In fact its a compiled collection of original works from the six years since The Ways Of Yore. In the post-prison era of his career, Varg's ambient leaning creations had not sparkled with the magic of a Tomhet or Hliðskjálf. I wasn't expecting much but found myself pleasantly surprised to hear the peculiar sound that captivated much of my youth emerging again. Alongside a couple of reworked melodies from classic songs, much of this loosely arranged music dives into that special, lonely and timeless place.

With some solemnly spoken word and slightly sung sections, Varg brings a little Norse culture to a handful of songs that break up the flow with a tone rooted in heritage and mythology more so than the mystic. All his songs share the minimalist approach, a handful of simple melodies, steady in pace and calming in their presence. Repetitive and droning, many of these songs need little complexity to hold ones attention. Textural experiments with raveling distortions and whirling psychedelic synths droning on a handful of the longer tracks show he still has the knack for that deeply mysterious and nature inspired sound of a lonely darkness. Both chilling and soothing in its unforgiving starkness and archaic presence.

A Forgotten Realm stands out as a unifying track to bring all thees concepts together. Lumped in the midpoint its arrival is like all the others, without intention. The albums flow is unstructured yet enhanced through repetition as familiarity sets in. The lack of direction tends to aid the already lonesome and wandering mood these songs conjure. With many short one to two minute cuts in the first half there is an impression of ideas left unfinished. In the second stint where longer pieces reside, a notable shift to the denser tone fleshed with experimental reverbs and droning instruments takes place. In this stretch the music enters an entrancing meditative magic I simply adore.

I barely knew what to expect going into this record. His previous ambient works had been a disappointment. Given the nature of its release it strikes me as music inspired and composed without future thoughts to release it, despite that eventually happening. Given its lack of structure or focus the sound feels more lending to a mood than experience. It will be one to put on from time to time in search of that curiously esoteric yet relaxing sound linked to a Norse Mythology that only this guy can capture.

Rating: 7/10

Pop Will Eat Itself "This Is The Day..." (1989)

 

This album may just go down as one of the most intriguing, genre crossover and retroactively curious records to discover at a time where the historical musical tapestry rarely surprises. This Is The Day... is a defining sophomore album by British act Pop Will Eat Itself, a band fueled by a passionate energy for music alternative to the mainstream. Despite being floored by its hallmarks, the now dated era sound of its fainter stints has me less indulged by its waves of nostalgia emanating from a moment in time prior to my favorite 90s sounds. Essentially, this would of been my world had I discovered it earlier in my youth. Hearing it now, its still a marvel to behold and enjoy.

Kicking off with PWEI Is A Four Letter Word, a defining influence is made known with its bold snippets of Chuck D & Flavor Flav of Public Enemy. The sampling culture of then still emerging Hip Hop sound runs rampant as defiant statements are drawn around the concept of "stealing" music in this sampling form. These guys stand on the cutting edge of the times, bringing Rap and Rock together with Heavy Metal and Punk Rock guitars among its weaving web of Electronic, Pop and even Disco in brief bursts. It has the spirit of Anthrax's inclusion on the crossover classic Bring The Noise. Its a wild punchy sound, bold and hard hitting as its elements stack together crudely through the riotous noise blaring from DJ Winston's eclectic sample choices.

Individually the songs tend to feel structured in a Pop format with chirpy hooks and a ton of cultural inclusion from its embracing sampling and referencing lyrics. The experience is like a youthful time machine, references to Terminator, Robo Cop and even Mc Donalds ground itself in the era. Notably, this is where its weak points gleam. Its silly refrain "Gimme Me Big Mack, Gimme Fries To Go" rapped alongside the classic Funky Town melody is both gaudy, geeky yet admittedly fun. Its grown on me, the awkward leaning arrangements do have musical charm at its inspirational core. My other "gripe" were the crass English accents, a little stiff and engineered when rapping but giving it some Merit, its the late eighties style, simple but effective.

Wrapped around its bold affront, the musicianship from Mole, Mansell, Crabb & March is remarkable, a keen negotiation fostering the spaces between its sampling indulgences with timely riffs, melodies and grooves to lay a firm foundation for the madness. Its an organic unraveling textile sound, morphing into songs as samples and programs drums invade the percussion, bass, guitars and beyond. The rhythm section was a personal pleasure, reflecting the tones of Alternative Metal, Industrial and Post-Punk to remind me fondly of the coming shift in sound the 90s would bring.

As said in the opening, its a marvel, full of mentions to perk your ears, Can U Dig It? is a lovable spew of references built around the classic line from The Warriors movie, sampled over and over. I set out to write a more critical review as its gaudy moments and rough edges had been a focus in casual listening, but as it happens on occasion, diving in deep and getting the thoughts out really made me appreciate this one more. Its quite iconic to me how it slips in between a lot of great music I adore with a "here first" affirmation. It will take time to digest deeply. One thing is sure, I am not done with it yet! Ill be spinning This Is The Day... for years to come, I can feel it in my bones!

Rating: 8/10

Covenant "From The Storm Of Shadows" (1994)

 

With SETI, Animatronic & Nexus Polaris behind us, we venture now into the less impressive origin of a remarkable band. In the past I barely bothered with demo tapes, my recent foray with My Angel gave me a nudge to give this one a try. I'm glad I did, although far from impressed with a now cliched sound I know inside out, it was a pleasure to digest these three darkly, menacing tracks of scene cast Black Metal.

 Sadly the symphonic element starts off mostly absent, possibly too enveloped by the smothering bass to stand apart with distinction. Its not until two thirds through the opening track that we hear some lone horns roaring in triumph from behind the grisly guitars. Its presence grows and by the third title track we get some medieval, partly jovial synth lines chiming in to the shadowy aggression with bold melody.

As far as the crass audio quality goes, this is a studio demo, harsh in the upper mid range but doing a great job of making its instruments heard. The key elements of the music get through, those brooding, mid tempo riffs with darkly accents, atypical of the times. It plunders away through blast beats and howling, unattractive scowls that rasp over top from Nagash who handles everything but the guitars here.

Its rather hard for these three songs to make much of a lasting impression given my already extensive exploration of Symphonic Black Metal. I'm fairly sure these songs would of carved some adoration if I'd turned to them in my youth. As it goes I skipped over them but its clear that Nagash of early Dimmu Borgir notoriety was a competent musician adding his own take on the emerging sound with vision and spirit!

Rating: 4/10

Bring Me The Horizon "This Is What The Edge Of Your Seat Was Made For" (2004)

The rattling rustle of loose snare rolls, discordant guitars screeching, a brooding power chord rising and then an eruption of sloppy chugging riffs. It sends this classic record straight into uncomfortable territory as moments later the grip loosens with the hit-hat wafting over the silence between meaty slabs of chunky guitar funk. Enter the raspy scowl of Oli Sykes's divisive and ugly screams and you have the perfect recipe for music to split a crowd, in the context of both mosh pits and musical snobbery. Fortunately I landed on the side able to enjoy this controversial bands gritty sound.

It was at my first Download Festival in 06 that I mistook them for another act on the bill. I was blown away by the novelty of these black emo mop hair cut kids playing the "uber brootal" music. It was also my introduction to hardcore dancing where I quickly learned regular moshing would land you a punch to the face. From then I was hooked and till this day I never felt like anything else Bring Me The Horizon would do matched the unique charm this four track record caries. Its one of those bits of music you get right into every now and then and this latest binge leads me to write!

This Is What The Edge Of Your Seat Was Made For is a youthful riot of angsty rebellion and aimless attitude fit to cut a divide in the Metal scene. Some parts Metalcore, seeking the brutality of Death Metal, this bedroom band puts together a riff montage exploring their own ideas of heavy, hooked on the ugly, odd and obnoxious that you just can't replicate. Its a mindset, a moment in time manifesting into a bizarre riff fest of awkward guitar noise and breakdowns that I simply adore for all its flaws.

Its grey, scrappy aesthetic and trying performance may be sloppy and loose but just hangs in enough to land its ideas and rhythms right on the nose. The grooves land between the barrages of angular guitar noise and Oli's snarling throaty screams sound almost painful at times. It ends up like a charm all too akin to Metal yet constructed from a different ideology. The songwriting however is keenly convenient in this aesthetic as its progressive rollout of guitar riffs, with little repetition, keeps an interesting flow of rough around the edges ideas, landing with enthralling energy.

The last of its four songs ends up on a melodic tangent that derails somewhat from the core concept but within its first three strikes the breakdowns and "brutality" is so much fun. Each song gets its big moment for the crowd to split and go ham. Each song also finds catchy ear-worms to drive home with big shouts around its big breaks. "Nail The Casket One More Time", "I Hate All My Friends", "If You Think You've Alive, Your Better Of Dead". I've never looked deep into these angsty lyrics, written by then teenagers. They do however get riled up with the music in there spite ridden delivery.

Edge Of Your Seat not a record Id be keen to recommend but discovering at such an interesting time, right at the birth of Deathcore's bloom, gave it a personal nostalgic magic I've never been able to shake. It was fun and outrageous then and sixteen years later still has a punch that rarely fails to rustle. Such a peculiar record. No other band I'm aware of, or even BMTH themselves on their debut album managed to capture the spirit to be heard hear. Its an oddity but I absolutely love it!

Rating: 8/10

The Kovenant "Animatronic" (1999)

 

Embarking forth with a new name and shift in identity, Animatronic is their first album as The Kovenant. Nestled between last years Nexus Polaris and the later SETI, it represents the stylistic move towards Industrial Metal and electronica with a little of the former magic lingering. Reflecting on this with a more perceptive mind, it is a bigger change than I once remembered. The transition is held over well in vocal department where snarly shouts and brutish half screams anchor it to their former glory, along with Eileen Kupper's enigmatic operatic singing to usher in powerful melodies on their two best known songs. Mirror's Paradise and New World Order hit things off with an unforgettable union of catchy melodies, rocking riffs and stomping drums, all illuminated by Eileen and the strings that cruise between its Drum N Bass percussive cuts. Its a shake up of sounds, a melting pot of ideas channeled through clever song writing that appeals to popular fundamentals.

With such a strong opening, its a tough trail to follow but the remaining material explores different approaches to tone, pace and experimentation in well defined songs that form the unique feeling the opening two have. Mannequin dives into the downtrodden brooding the following record would dive into on a couple of songs too. Jihad brings an eastern melodic flavor to its crunching Industrial guitars. The Human Abstract ups the tempo with a fast paced thrashing romp lavished in glossy synths, akin to their prior effort with its more aggressive guitar tone and symphonic overdrive. All the songs have this over-represented keyboard presence that sways between club electronica and classic strings. It works wonders, beaming with prominence above the density of woven Industrial noises below it.

Home to two timeless classics, sadly Animatronic looses its footing in the closing as a couple tracks, missing the level of excellence excelled elsewhere. Prophecies Of Fire hails back to the carnival and jovial likeness of Nexus Polaris, almost like a left over reworked for this album. In The Name Of The Future recycles to many previous ideas and The Birth Of Tragedy seems an odd closing note for such a dramatic shift in tone as it explores a dark, paranoid, cyber aesthetic wonderfully. Most notable is the clunky cover of Babylon Zoo's Spaceman. Ironically It sounds like a flip of the original, where the mess between the catchy chorus was rather unappealing. In this instance The Kovenant do everything right except the hook which doesn't spark in the deep burly voice its delivered through. Animatronic is home to a potent, exceptional and inspired sound but as an album tends to decline steadily to a good from greatness. That said, you can't deny the brilliance of its opening two songs, forever personal favorites.

Rating: 8/10

Arcturus "My Angel" (1991)

Finding myself on a Symphonic Black Metal binge of late, I turned my attention to Arcturus, an old favorite. Something then caught my eye, the release date! As far as the Norwegian scene is concerned, anything dated before late 1993 tends to carry a little mystique for the front runners who were involved before the explosion of popularity and exposure. This two song release is also considered to be the first inception of Symphonic Black Metal at a time where the 2nd wave sound was still forming its identity. I don't know how I never gave any attention before. Ive been aware of it since discovering this amazing band.

My Angel is one of those curious records that evokes thought over time and place, a band caught in a moment trying to find their footing with emerging musical ideas. It has soft remnants of Mortem, the Death Metal act these musicians were previously known as and with a strong shift away from that style the name change was certainly apt. The lasting aesthetic identities here are the iconic synth string tones, which feature heavily on their debut. That and a handful of compositions in Mortax give you an idea of where they will go. The drudging guttural grows and gloomy atmosphere will be left behind.

The record stands as a curious transition between music scenes and ideas. With the ideals of extremity and low fidelity yet to become hallmarks of the Black Metal genre, Arcturus pull on the slow pace of Doom Metal and simple power chord arrangements as their tools to sway towards evil and darkness. It takes on a haunting persona with the lead guitar on My Angel wailing like a lost spirit calling across fog swept moors.

The production is crass but capable. Sloppy and dissonant it carries a charm, one for the era you could consider a decent attempt at introducing these thick atmospheric key tones alongside the extremities producers where still figuring how to piece together. The second song, Morax, hit me as a three part song stitched together. While writing this blog I've learned they had a demo tape from the year before, further adding to the mystique. On that cassette Morax was split into three and alongside a synth intro, showed these guys had this sound together a little earlier than I initially thought! All in all a very enjoyable discovery for someone who thought I knew this all inside out!

Rating: 4/10

Earth "The Bees Made Honey In The Lion's Skull" (2008)

With the pandemic slowing the pace of new music by the artists I follow, I've noticed the freed time has had me picking out forgotten treasures. It is much fun to revisit old favorites and after blowing the dust of Hibernaculum we get to revive the one about the bees and the lion! I never got deep into this one upon release and the reason is swiftly apparent - Its all to similar. Earth's slow, drudging pace and methodical unraveling of suspended, elongated chords and melodies brews a warm atmosphere. Once familiar with the niche, it dissipates too a mood, one to be conjured but hardly encapsulated by.

With its axis a little more woven into the softly distorted guitars, texture and aesthetic ooze from the speakers as its melodies clime to unleash brooding chords that ring out in slow motion. In its simplicity, amalgamating layers of ambiguous hazy noise gush forth from its crashing power. Heard best in its opening songs, the charm wears off as future songs pivot more so to the piano as the lead instrument and in this relegates itself to a less imbued form.

Rise To Glory introduces a remarkably hazy guitar solo that ebbs and flows in its shoe-gazing presence, sluggish and reflexive, its grasp on tension and human expression is suddenly cut short as a sudden pivot ushers in the pianos phase. Hung From The Moon goes there again with the piano but its not quite the same. This additional layer, free from the grinding pace yet flowing with a complimenting looseness is wonderful, a stand out element that doesn't get much time to flourish. With this they had something but without, its all to similar and the record tends to drift to the background, where it sets a fine and soothing mood of calmness and ease. A good record but its clear now why it didn't stick with me back then.

Rating: 6/10

Covenant "Nexus Polaris" (1998)

From The Kovenant to Covenant, as we roll the years back you undoubtedly noticed the change in name. This is down to a dispute with an equally named Swedish EDM artist who won the usage rights. Upon their next effort, that transition was made alongside a rebranding in image and presentation. Nexus Polaris, the groups sophomore effort, would then be re-released under the new and handy renaming. Interestingly their debut would receive an peculiar re-recording that attempts to shed the original music of its genre cast tone and rewrite much of the synths to try and capture the genius that first erupted here. Perhaps the magic was in that original record but this is the moment where a unique brilliance emerged from the cast mold of the then young Symphonic Black Metal sound.

As hinted at, the magic lies in a more elaborate sense of what the symphony could be, similar to Arcturus on paper, yet arriving with a different alien personality. The records eight tracks blaze with the roar and bite of ferocious Black Metal, mostly propelled by the rumbling barrage of Hellhammer's legendary percussive style. He debuts with the band here, unleashing his busying three arm style to propel the aggressive side with a dense layering of drum and cymbal strikes. Alongside him the vocals too deliver howling and wretched screams atypical of the genre but most notable is Lex Icon's withdrawing to a snarling throaty growling of his cosmic unworldly lyrics. This toned down temperament aids the balance of extremity and musicality the songs exude.

Snugly fit between the battering drums and gleaming synth work sit these subtle distortion guitars tinged by a Thrash Metal pacing. Arriving with melodic inflections and the occasional blistering guitar solo, they act a keen bridge between forces, the unifying element to give rise to the symphonic theme and anchor the aesthetic in aggression. Rarely are they the main focus but every riff chugs away choppy rhythms and grooves to see the theatrics on there way.

Front and center is the symphonic aspect. Where the genres artists once mirrored the general direction of their darkly music with gloomy and majestic Casio keyboard tones, Covenant strode to bring a cinematic experience. The awe and wonder can be felt in an instant, as The Sulphar Feast warms up with its shimmering acoustic guitars and it plunges into blast beats, Sarah Jezebel Deva, once of Cradle Of Filth, lends her wicked voice with an operatic presence that signifies much of the compositional genius to come. Rather than complimenting tonal aesthetics, the keys take charge as the lead direction of these thematic songs, often tinged with a carnival flavoring.

 Along the journey many keyboard instrument sounds feature, from the expectant choral synth tones to bright pianos and even an accordion on one song. It orchestrates wonderfully with an astral sense of wonder and touch of madness to tie it keenly to its extreme delivery. Its keen writing that packages big themes into simple repetitious melodies rolled off one another to keep that galactic sense of scale. Also featuring a few "electronic" tones in brief stints it does signify where the band may go but in this instant sits with me as a wondrous piece of music its hard to find fault with.

Its been such a long time this record has been with me, blowing the dust off again the magic hasn't weathered a fraction. Appreciating it once again I am particularly fond of Chariots Of Thunder, the first from the album I heard. The song has a leveling of elements as all its instruments feel integral to one another where the rest of the record dove heavily into its wonderfully bizarre and cosmic orchestration. Its a fair temperament to close on and always gives me an emotional stiring that the end of a powerful movie might do. I love it, a true classic!

Rating: 10/10