Sundial Aeon "Analysis" (2014)

 

For a while now, I've found myself drawn like a magnet to what I describe as "inconsequential music". That realization helped this latest discovery click swiftly. Far from the meditative ambiences I usually associate with these inconsequential moods, Sundial Aeon's bustling electronic soundscapes carry a similar sentiment. Mid-tempo tracks drift by with a casual ease as layers of chirping synths harmonize without grandiose melody, scale or direction. Instead we embark on curious escapades through synthetic equilibrium that evokes astral, futurism and technological vibes.

 

Analysis plays out through a Trance architecture, dialing its temperament towards ambience, backed by often understated percussion. The motifs and themes explored sway dramatically away from dance floor rhythm towards a tone I adore. Pioneered by Carbon Based Lifeforms and further diversified through the likes of Timewave, Andrew Odd and Dreamstate Logic, these introspective, astral vibes fit snugly with my taste.

 

The ten songs found here all swell into welcoming moods, every track meandering through a whirl of instrumental overlap that rarely expressive individual ideas yet becomes bigger than the sum of their parts. Its an entrancing listen, evoking focus and calm through a rather busied wall of sound that relents in its expectant ebb and flows that are navigated gracefully by these two accomplished composers.

 

Rating: 6/10

Batushka "Carju Niebiesnyj" (2021)

 

Operating under the drama of band name disputes, here we have Krysiuk's Batushka marching on with a string of three EPs that passed me by. Perhaps I am only following Krzysztof's Batushka? The whole thing is a confusing mess of foreign names often interchanged with unique language letters. Either way this arm of the sound Litourgiya reckoned upon us feels stylistically cornered as this iteration of the band hash out a similar resolution across six songs. Sticking to their guns, the main focus is steeped in overtones to tie in a darkness counter to eastern orthodoxy of centuries gone by.

After many spins, that's left Carju Niebiesnyj feeling like a duller incarnation, throwing the same punches over again. Its one merit is in production, a sense of expanded budget falls upon its crisper tone where instruments and voices come across clearer. Even with that, some charm may be lost as low fidelity often stirs magic in the Black Metal aesthetic. Talking on the music itself, only Pismo V stood aside as an interlude focusing on a duet of male and effeminate voices, singing with deep reverbs to evoke a sense of biblical burdens bestowed upon church goers of a time and place now lost.

Otherwise its screams, bleeding guitars and batterings of blast-beats tread a familiar line. Its competent but expectant, leaving one with little more to remark on than the particulates of their unique take established six years ago. Its enjoyable, especially in the embellished moments where choir voices and eastern overtones take rise, most keenly on its closer. In the plunges of darkness speared on by aggression and fury, not so much. Ultimately, its been another case of Metal music played safe and steady where as I am seeking something different and new.

Rating: 4/10

Kataxu "Ancestral Mysteries" (2021)

 

For a long time Ive wanted to get around to writing on Hunger Of Elements by Kataxu, the one man band from Poland. That record is one of a rare few that walks gracefully in the shadow of Emperor's symphonic majesty, conjuring epics to hold a candle to classic In The Nightside Eclipse. So imagine my excitement and surprise, suddenly after sixteen years of silence, Kataxu returns! Structured with another six tracks, three lengthy metallic tracks either side of three astral symphonic interludes, it seemingly had all the markings of that album I've adored since my youth. Sadly, Ancestral Mysteries doesn't hold up to expectations. With that in mind, maybe I lost the ability to enjoy this for what it is? On closer inspection however, It does seem like the showering of magic its predecessor offered is nowhere to be heard.

With an unrelenting, galloping pace, a constant propelling force has us cruising through ferocious blast beats rattling of the gleam of synths penetrating the pummeling wall of sound. Its a formula I adore, caught somewhere between the cosmic extremes of Darkspace and luminous polish of Dimmu Borgir, the promise of adventure and epic all too good. With each listen, it felt as if the destination was never arrived at, or even conceived. These songs meander with its thick and dense guitars plucking darkly chords that fail to steer the ship with any rhythmic might or adrenaline. Ultimately, they just get washed up in the wall of sound without the power to punch.

With further spins I found myself increasingly dissatisfied with the vocals. High in the mix with strained throaty shouts, the texture wasn't inviting and a lot of the musics direction seemed inline with the monologues mutely roared over sparse instrument interludes. This gripe had me thinking about the production and aesthetics. Turning back to Hunger Of Elements, I can see where this went wrong.

That record has a looser production, almost sloppy and haphazard. What it does do however, is let the symphonic aspect leap out at the listener, Its contributions no longer evened out by equality. Not only this but the writing is so much more adventurous. Dark, nightly pianos rapture around the listener and sudden shifts for bright melodies to blossom give the music so much more excitement and adventure.

With those original songs in mind Ancestral Mysteries now sounds narrow and dull. The production softens its instruments into a cushioned wall of sound that sucks the vibrancy out of its guitars and keys. The ideas are there but in lacking a punch to bring the music through, its really hard to feel how it all adds up. Listening closely one can hear the arrangements and potential magic but even that effort doesn't make the music click. I'm left disappointed and undecided, did the writing not hit the mark here or was it the production?

Rating: 4/10

Behemoth "A Forest" (2020)

The ground shaking, triumphant beam of blasphemy that was Blow Your Trumpets, Gabriel has had me with a keen eye on the Polish Blackened Death Metal legends since The Satanist's release back before I started this blog. Despite knowing they could be capable of more surprises, I picked up this EP with little in the way of expectations, a Cure cover and accompanying live version pained their music in a grim darkened tone that lacked much in the way of excitement, not to mention the guest vocals that are a little wretched, strained and stretched out of tune.

Shadows Ov Ea Cast Upon Golgoth plunges into a grim shadowy realm for a mid tempo track led by aggressive tom drum pummeling that tends to circle the waters in the way of progression a little guitar solo and thunderous ending do little to offer much in the way of gratification from this brief journey into its uneasy state of darkness.

Evoe on the other hands chops up some brighter tuneful, for extreme music, guitar riffs to oppose its dives into double pedal rattling groans of evil. At the mid point the song bursts open, a competent but hastily performed solo sort of achieving what the track before couldn't. I had a feeling It wasn't really worth forking over the dosh but I was curious and in all reality this is a really weak release from a band with a far higher bar of quality, even on an EP. Given these crazy times we are living through, maybe they were just looking to throw out something for the sake of sustenance.

Favorite Track: Evoe
Rating: 2/10

Batushka "Hospodi" (2019)

Yesterday I covered Panihida by a different artist, the founder, under the same Batushka moniker. The situation is somewhat rotten and this record, backed by Metal Blade records, will probably end up with the legal rights to the name however its very obvious these musicians can't quite do it the same way. With a bigger production budget a cushy aesthetic makes for a clearer separation of the elements. Rather than the extreme clattering barrage of its counterpart the instuments stand tall with clarity, making it easier to hear where this album steers from its originators vision.

The first few songs hold over a tone steeped in dark religion. Ritual bells plays between songs that brood the Orthodoxy atmosphere with the choral clean vocals lingering a fraction behind Drabikowski's original. The guitars have a space to breathe and boldly they occupy as a focal point above soft symphonics. By the third track a diversion unfolds, big chunky riffs unleash mosh grooves akin to Khold, a fusion of grim distortion and bombastic riffs in tune with Nu Metal and Groove Metal. Its the albums most stark brake in stride as other directions feel much closer to the darkened core. Its always the guitars that step outside expectations and expand the horizon. It would be a niche touch for the band to progress if under different circumstances.

With its cleaner production and expansive set of songs Hospodi offers a derivative experience, drifting from the Eastern Orthodoxy template that made this band so unique. It holds on to Clergy chants but it feels like dressing around a set of songs that have an anchor in a similar strain of darkness. Its more exciting given the diversity but you can hear the different minds behind it. Yesterday I wrote that Panihida was the better but only as a Batushka record. This one is has more dynamism and swells of intensity. Both are worth your time and different is my conclusion I guess!

Rating: 6/10

Batushka "Panihida" (2019)

This post will be the first of two covering a pair albums born from an odd and unfavorable situation. The mysterious Batushka, a Polish Black Metal band inspired by Eastern Orthodoxy, is now split in a strange legal situation where the original artist has be shunned and seemingly screwed over legally as his hired band mates leveraged ownership of the band itself. Panihida is the record released by original artist Krzysztof Drabikowski, its a notch lower on production value as he does not have the resources a record label like Metal Blade does. They have also been dead silent on the situation, no response to Drabikowski's claims have been made.

I will kick it off by saying the tone and temperament of this follow up record holds true to Litourgiya. It lacks the impact the Gregorian clean vocals initially wooed fans with but that is to be expected. This time around another listed set of eight tracks go through the typical motions of extreme music, blasting drums rattle the cage and meaty rhythm guitars chime in duality with shrill tremolo picking that scales tarnished melodies. Soft choral synths and theologian singing softly line the crevasses but the best moments always seem born of their uprising to the forefront.

There isn't much in the barraging of evil metallic onslaught that feels special. Its well performed but tends to go through the motions sustaining the evil orthodoxy atmosphere. All the best moments are birthed through breaks from intensity. On occasion softy guitar leads bring melodic uplift but they are scarce. In the right mood it can be very enjoyable but it lacks that ability to suck you in regardless. The impact of the first record had that but this follow up is simply more of the same. I will write on the other record tomorrow and say now this is the better of the two but not by much.

Rating: 6/10

Behemoth "I Loved You At Your Darkest" (2018)

 Its been four years since The Satanist gate crashed the larger expanses of the Metal scene with a commercial breakthrough. My comments as to why are based only on meager looks into their back catalog of an additional ten records. A transition from their Norwegian inspired Black Metal roots to a Death Metal hybrid, bolstering tight playing and grinding of commonplace techniques gave way to a greater sense of theme and theater that resonated. I found myself lured into the grand and thematic approach to darkness heard on that record, as it would seem many did and so they have returned on this vein again. The Satanist made it into My Top Albums Of 2014 list, however no post exists as it was before I started this music blog.

The album opens with Solve, we hear an unhallowed choir of children sing their cries of committal against Christ as the guitars brood, fading them out of focus as a couple bursts of cushioned yet bruising blast beats errupt. It sets a tone for nefarious, illustrious atmospheres, wicked visions and the unruly conjuring of satanic spirits. The following music aims its sights to invoke a grueling darkness with its respite between the follies of pummeling drums, expansive guitar work and obedient screams of service to the dark lord. It is not without its helping of gravitating blast beats and grinding, evil guitars but most these songs make their mark with new and different approaches that look at the music beyond the scope of atypical Extreme Metal.

It is perhaps "unfortunate" for these veterans that when their music falls back on the genres hallmarks it finds strength and unsurprisingly a brilliance counterpart to their artistic intent, for the albums better songs, tracks like Sabbath Mater, find a magical balance where the majority of the music is rode forth by this expectancy and the flair of artistry erupts in its wake. A guitar solo leads us out of its expectant grind through an expansive flow of uplifting acoustic guitars before driving us into its hellish conclusion. Bursts of relentless blast beats exchange blows against the visionary roar of trumpets, strings and screams of torment that swell in the swaying back and forth.

A fair amount of the songs gravitate around its expansive, atmosphere driven approach to dark, satanic themes. Its can be hit or miss, although the record maintains its commitment to a hellish world of deviance with an intriguing arrangement of instruments that doesn't always strike gold. Simultaneously there are moments where they do. Maybe its a matter of taste but unlike The Satanist, some of these dark alluring visuals conjured through roars of devoted voices and the subtle inclination of stringed instruments don't reach the same heights. It does what's expected where its predictable and lingers adrift from greatness in its most ambitious narrative. Despite this nitpicking of response to their ungodly music, its a fully formed enjoyable record.

Favorite Tracks: God = Dog, Bartzabel, Angelvs XIII, Sabbath Mater, We Are The Next 1000 Years

Rating: 8/10

Decapitated "Anticult" (2017)

Its been a decade since drummer Witold Kieltyka tragically died at the young age of 23. he formed the Polish band with his brother at only twelve years old! Witold was prodigy to say the least, hammering down fast and brutal drum patterns as a teen. Decapitated stood out as a young band with a promising future however in this day they sound like a shell of their former selves. With only founding member Vogg left on guitar's they have stripped back the brutality and transformed into a rather common sounding Melodic Death Metal outfit, at least rhythmically as there isn't to much of a focus on melody here. That's not to say the musics bad, just that what once set them apart from other bands is a distant memory on this record.

Anticult starts out as a warmer, inviting record with some gleaming guitar leads and progressive riff constructs arranged between the high octane Death guitar grinding. With Thrash overtones and shades of Groove the band put on a more palatable, appealing show in the beginning stages. As the record draws on deafening blast beats leaner riffage start to take hold and on a couple of tracks with the relentless double pedal rattle echos their old identity. It starts out warm and steadily leads us into dark territory as the mid section delivers a few moments of grinding brutality and aesthetic onslaught.

As the record draws on more melodies and mosh friendly riffs emerge, bringing about those festival music vibes, the sort of Metal fit for the open air. Its that kind of appeasing record, it may be full of blast beats and tonally dense instruments but its squeaky clean production eliminates the visceral aspect, making the slick snares and sharp, crisp guitar tones an aesthetic treat. Its all set to make a great record but not many of the songs stuck with me. An enjoyable listen but a lack of meat and spark in the song writing to really turn a technically decent record into anything of merit to my ears.

Rating: 5/10

Batushka "Litourgiya" (2015)

First time around I didn't hear anything special in this record but given a prod in the side I decided to give it another try and after a couple of spins the magic became obvious. "Litourgiya" is the debut release of Polish Black Metal band Batushka, meaning "father" to a priest. They remain shrouded in mystery, choosing to not reveal their identities. Supposedly their a collective of eight musicians from other established bands and when playing live they take on a similar look to Ghost, cloaked in dark and mystic robes full of demonic symbols and signs. I can't help but feel its not just their image that's taken a big dose of inspiration from Ghost, the music too has thought and craft about it, the focus on clean apostolic vocals giving it a similar spirit of biblical damnation.

Aesthetically its not much of a stretch from traditional Black Metal. Its noisy, overwhelming but not low in fidelity. The guitars have a gorgeous tone range fit for shrill tremolo shredding and weighty down tuned low notes sounding almost Djent but without the technique. Around them a clunky bass strums away, its low end blending into the guitars and its high texture waddling its way into the creaks of space between other instruments. The drums batter wildly with timely blasts, a warm rounded snare, softened pedals and muted cymbals come together loosely with a rawness that musters up enough chemistry for an engrossing wall of unrelenting candlelight darkness.

Batushka distinguish themselves with an orthodox theme lining the songs with Gregorian chants, the pummeling, crushing music sets the tone of fearful Christian mysticism. One can envision clergy working over sacred scriptures locked within catacombs and church cellars. The shrill screams and throaty shouts aren't as prominent, taking a backseat to deep, bellowing ritualistic chants that don't set the tone alone. The accompanying music has a lot of mood and tempo shifts, most of the songs slow down the pace for temperate melodies before erupting with gleaming uproars of energy. The chants and "clean" vocals are quiet in the mix and occasionally slip deep into the background, just harmonizing with the guitars inconspicuously.

As an album it plays as a whole, the songs are rather similar to one another and tend to variate on the same ideas in different ways. There are moments of both ambience and intensity that come in many shades of dogmatic darkness and once you've caught the essence of the theme its effortless to enjoy. The sound and character is nailed but it isn't very expansive, so the stage is set for the band to do interesting things with their craft in the future. A very solid release worthy of listening to any Black Metal fan with a taste for twist on traditionalism.

Favorite Track: Yekteniya 2, Yekteniya 8

Rating: 8/10

Graveland "Raise Your Sword!" (2001)

Taking a little nostalgia trip back to "Prawo Stali" my research led me to this Graveland record which consists of three tracks from the same recording session. It's labeled as an "EP" and clocks in at thirty minutes, not far from what could be considered a full record however these songs were left off the record for a reason and despite being such, they make for an enjoyable listen.

"Till The Final Death" marches to the same warlike anthems of the full length, parading battle horns and war crys under the focus of tempered guitars that don't have quite the same groove and momentum, but bare a colder vision with riffs that lurk into higher octaves, rattling and fuzzing away at the mercy of the low fidelity distortion. Between these moments the familiar shifting riffs chime away with the symphonic elements and make for a solid song.

"Temple Of My Hatred" dives into darker regions with a relatively similar style of track, utilizing the same lengthy song structures and compositional choices, but homing in on a darker tone through a memorable lead rift that once again comes through a wash of fuzz and rattle as the distortion's higher end struggles to contain. A selection of moodier riffs give this one a different twist but its a very familiar feel.

"W Objecia Simerci" is the records most distinctive song with a different mix that has the snare snapping through the mix and more space between the guitars and synth. The composition is a little more sparse too with plenty of passages for just the guitars, or for them to drop behind the synth which has some brilliant choir tones singing out booming chants in their moments. Overall its really enjoyable, but a definite mark behind the full length which had the pick of the sessions best songs.

Favorite Track: Temple Of My Hatred

Rating: 6/10

Graveland "Prawo Stali" (2001)

 

 It was back in the early days of my minecraft adventures that I discovered this record and a little nostalgia for the game always brings back fond memories of caving adventures and building for the first time while listening to this record on repeat. Rob Darken's "Graveland" holds a formidable reputation in the Black Metal scene. Emerging out of Poland in 92, before the scene flourished with exposure and controversy in Norway, Rob has been consistent releasing records, over 20 in total, since the inception. The quality is somewhat inconsistent, but on "Prawo Stali" he strikes a nerve with a glorious and immersive record defined by its unique theme of viking warfare, paganism and mythology as well as executing some of Black Metals most standardized principles in a unique and memorable fashion.

The beauty of this record is both in its aesthetic and writing, both of which excel, creating a rich, atmospheric record of dense mystic black which rolls over the ears with fuzzy high end guitars chiming with deep horns and a buried base line. Rob's vocal's are usually a little to shrill for my ears, but on this record he gets the balance right and utilizes the wordless screams with thick, echoing reverbs that create haunting chills, amplifying the intensity as the screams cry out from under the other instruments. The drums are a tad stiff and lifeless, but they hold a solid beat for the other instruments and never make much of an attempt to gain your focus. The key here is in the chemistry between the guitars and symphonic elements which continually create the best moments and drive home the strong sense of theme this record has.

There's a warlike feel coursing through these songs, set in mythic times one can envision the glory of conquest as the symphonics gleam victorious sounds of horns blaring the signals of attack across the battle field. The drums clash and pound like the rhythm of warfare while Rob delivers his battlecrys that echo and resonate under the thunderous noise. The progressions and notation used between the guitars and horns helps glue the record together with each ten minute epic feeling right at home with one another, yet each finding their own niche and mood to carve a different setting. The albums only flaw is perhaps its production and the drumming which could of been polished better, but its always a point of debate that the lack of fidelity falls inline perfectly with the records ancient and mythic feel which does an incredible job of uniting such strong themes together under the Black Metal banner.

Favorite Song: Tyrani Okrucienstwa

Rating: 9/10

Behemoth "Xiądz" (2015)

Following the successful and critically acclaimed "The Satanist", Polish legends Behemoth give us another appetizer of leftovers, the title track "Nieboga Czarny Xiądz" from "The Satanist", a rerecording of a very early song "Moonspell Rites" from the same recording session and "Towards The Dying Sun We March"  from 2009s "Evangelion". Behemoth are well respected within the metal community, once an atypical Black Metal band they evolved from the shrill, dingy, low-fi, occult sound into a beastly, aggressive musical force, incorporating elements of Death Metal and creating the term "Blackened Death Metal", referring to the fusion between the two styles. In recent years there leanings have turned a little towards their routes from a thematic sense and this short EP is no shift from that path.

The second track "Moonspell Rites" makes for a fascinating listen when compared against its 1994 original. The thin, narrow grisly guitars and a clanging snare don't detach the music from its charm. Even with a lush, modern recording it couldn't offer the song much more than its original, with an ugly, harsh aesthetic. On the newer recording the solo is a little buried, as opposed to the originals gleaming tone bursting out over hazy walls of distortion guitar. Still the modern version is enjoyable, but there is a lesson to be learned.

The opening track "Nieboga Czarny Xiądz" is by far the records best track, its quality makes me question why it was left out of the track listing, but that perhaps is testament to the bands craft. The song opens with a temperate and steady atmosphere that aimlessly wanders through itself before, a few minutes in, seemingly imploding into a lavish smothering of melodic dissonance that oozes over with enigmatic guitar chords and a subtle eerie organ adding a spice to the moment. Although the track doesn't progress much further with this break, it was a beautiful moment on the record that had me playing it over and over.

 "Towards The Dying Sun We March" didn't have quite the same charm, a contained track slowly brooding and evolving through timing oriented riffs and ideas that climaxed with a slow drawn out bludgeoning riff and rung out chords that didn't amount to much. A fair song but paled by the other tracks. Decent but short, never a lot to talk about for a three track but at least a song to return to with  "Nieboga Czarny Xiądz".

Favorite Song: Nieboga Czarny Xiądz 

Rating: 4/10

Gru "Cosmogenesis" (2010)

How did I discover this record? I actually have no recollection of how I found my way to it, but I do remember the instant gratification and connection I felt. "Gru" is a mysterious one man band musician from Poland who put out this masterpiece of Progressive Metal in 2010 and has since ceased any communications to the music community of his current activities. With no known identity there is no telling of the reasons behind his silence, I hope that the reasons are not fatal, for Gru has shared with us something timeless and beautiful with this peach of a record that in its short 34 minute length has never failed to delight and inspire.

"Cosmogenesis" is a lavish helping of inspired progressive bliss that shows off the skills of Gru's accomplished guitar manipulation, intertwining tight, technical Djent rhythms with organic, sweeping melodic scale shredding that weeps melodies and grooves movement that has two musical forces working in unison. The leads are bright and polished, continually sailing through seas of notes that blaze past at soaring speeds in what feels like a never ending solo. From track to track this lead presence is awe inspiring, shifting gears between drawn out bends, notes, harmonics and charging into sweep picked shreds and lightning fast playing that memorizes both technically and musically. The rhythm guitar is tight and audacious, performing complex time signatures with a forceful Djent that maintains clarity and understanding without diving too deep into the big distortions it could achieve. Its a solid backbone for the melodic adventure that unfolds above it, and on closer inspection you can often hear the two complimenting one another with the subtleties in timing.

For all thats written, descriptive or technical, its hard to describe the emotional response to this record. Its deeply satisfying, a sort of memorizing state is achieved as Gru sucks you into his universe of blissful sound that has a strong sense of character and theme, one which feels like space, looking to the stars in wonder. This is emphasized by the title and track listing no doubt. I've listened to this one over and over and it simply never tires. The production here is sublime in terms of guitar tones and general aesthetic. Theirs the presence of drum kit from hill, so common in one man bands but it fails to deter. Gru composes thoughtful fills and grooves that add a fair amount to the sound, as well as airy, spacey synths and electronic sounds that linger in the reveb. Its a beautiful record that I return to over and over. Hopefully one day we will hear more from Gru, a second album would be heaven.

Favorite Tracks: Pulsar, Stellar, Aurora, Andromeda

Rating: 9/10