DEAD CONGREGATION - Promulgation of the Fall (2014)

Genre: Death metal

Label: Martyrdoom Productions

Rating: 9.5/10

Promulgation of the Fall is the album via which I discovered Dead Congregation. I intentionally bias myself towards Black Metal, so naturally a lot of good death metal escapes me. Not this time, however. These Greeks have hit the mark with this album.

It seems that Dead Congregation emphasises simplicity, at least on this album. It also seems to be severely lacking annoying melody, spurning harmonisations for straight-up, muder-dark riffage. It is not a chaotic or technical death sort of album, just honest death metal of the highest quality. It is refreshing. There are even solemn and tasteful leads, such as the one that starts the title track which, although a brief song, is perhaps the darkest on the album. It is on the whole an evil record. Dark splendour abounds. My personal favourite track may be “Nigredo.” I think it has the most malevolent riffs (which is saying something, which you'll find out when you listen to this magnificent album). The terminal song, “From a Wretched Womb,” has a wonderful sense of closure to it.

This album is what good death metal should sound like. Those wishing to purchase this album on CD can do so in a number of places now. Vinyl is available through :AJNA: Offensive. Absolutely buy or die.

Antediluvian - λόγος
Genre: Death Metal
Label: NWN Prod.
Rating:  8.5/10

This is one of the vilest Death Metal bands in existence, and they've been a favourite of mine since I first heard them back in 2008 when Under Wing of Asael was released. I still remember buying all available releases they had at the time. Unfortunately for me, that did not include their first demo, but at least I got the rest. Starting out as a two-piece band with an outstanding and unique sound, they've grown over the years into the immense entity they are today.  Their second album λόγος (is the Ancient Greek word "Logos" and it has a couple of different meanings/interpretations.  Originally a word meaning "a ground", "a plea", "an opinion", "an expectation", "word", "speech", "account", "reason", "purpose". It became a technical term in philosophy, beginning with Heraclitus (ca. 535–475 BC), who used the term for a principle of order and knowledge. The word also has other interpretations in philosophy and in Religion.)  follows suit with their former works of total chaos on the surface. And only by penetrating through to the core of their musical output, and the genious within it. Will you be able to appreciate Antediluvian and λόγος.
As on their previous album, the songs blend into each other seamlessly. This makes it hard to appreciate their songs on their own and not just as a whole. In spite of this  "Consumate Spellbound Synapses" and "Nuclear Crucifixion (Turning the Spear Inward)" are tracks that really stand out on this album, at least to me.  The album is relentless, fast-paced and as brutal as you'd expect. There's not alot of breaks from the violence Antediluvian thrusts upon you.  The drumming this time around is really good though, and probably some of the best it's ever been in Antediluvian. There's always been alot going on when it comes to the drumming in this band, but this time around it's just really  expertly executed. "Transept of Limb"s is really good example of this.   And I hope this isn't the last album to come from Antediluvian.
As far as availability goes, it's still possible to buy from Nuclear War Now on cd, alongside several other of the bands releases. And probably elsewhere as well.

Drowned - Rehearsal demo 12/2012
Genre: Death Metal

Label:  Sepulchral Voice

Rating: 8/10

The Death metal entity Drowned has roamed in the underground for quite a few years.
Going all the way back to 1992. Personally I became aware of the band when their Demo Viscera Terræ
was released on vinyl and cd by Nuclear Winter Records (vinyl), and Worship Him Records (cd)
As did probably alot of others, cause with Viscera Terræ, Drowned made something special.
Prior to their infamous demo from 2006, the band released 4 demos as well as an Ep, and went through numerous Line-up changes. As they have yet again since Viscera Terræ. Tlmnn is the only member having been in the band through all these years, joined forces with G.ST and T.E in 2010 and this two track demo is their only release so far. It's definitely a worthy follow up to Viscera Terræ, and leaving little to be missed except more than only two songs. That being said it's doesn't surpass V.T but it's as close as you can come.  The production is as to be expected from a rehearsal demo, it's murky and it fits the tracks well.  Cast Into Negative Form is easily the strongest of the two tracks presented, and the drumming is especially good on this track. The highlight of the track comes at 2.15 when the tracks slows down to a halt, and the lead at 3.44 onwards really lifts the whole of it to a whole other level. If there's one thing Tlmnn knows it's creating good leads on his guitar. If you're into Occult Death Metal, and haven't checked out Drowned already, then you should get on it asap,  you will not be disappointed.
I'm unsure if the tape is still available, but either way you can listen to both tracks via Drowned's Soundcloud, their Bandcamp, or their homepage.

MGŁA - With Hearts Toward None (2012)

Genre: Orthodox Black Metal

Label: Northern Heritage Records

Rating: 9.5/10

I first heard Mgła in 2007, with the release of Mdłości/Further Down the Nest, and instantly fell in love. I had been searching for new Polish bands, and the fact that they had a Polish name and EP title excited me, then being in the throes of an obsession with Polish culture and language. Subsequent releases have never failed to disappoint, and the release of With Hearts Toward None was thrilling. I'm not going to do a riff-by-riff analysis of this album; instead, I will choose three songs to analyse, namely I, III, and VII.

"I" starts off with a dark, strong sounding riff, with an inexplicably good lead over it. The drumming kills, both in ability and tone. At 2:32 a third section, with a dramatic new lead over it bursts forth. At roughly 3:38, the intro riff comes blasting back in., followed by a return to the second riff. This is my favourite song from the album, and it has the best lyrics in my opinion. A brief excerpt here:

Between the damned,

the pissed and the outright insane

Grand architects of failure,

sculptors of loss

No golden thrones to follow

No shrines of solace to seek

The main riff to "III" is like a contagion; it immediately catches and spreads throughout your entire body, eventually killing you. Or at least it feels like this. The verse is simple and dark. Melodic, but not in a retarded way. The chorus is priceless. If this doesn't stick in your brain, you have no soul, as they say. There are a few iterations of this, until the 5:00 mark, when it switches to a third riff, equally as wonderful. This is extremely thoughtful music. At roughly 6:25 a slower lead comes in, then at 6:51 the drums slow down, and it leads to the end of the song. I'd like to sample some more lyrics here, those from the end of this track

Grey ash prayer

Severed from the unconscious

Perverse theodicy

Atrocious immanence

With hearts toward none

"VII" starts off with an extremely addictive chord progression with the sound of rain over it; the drums bring up rising action. I suspect this will ever be Mgła's closer at live shows; it certainly was when I saw them, and at every show I know of since the release of this album. At 2:08, the second, lead guitar comes in and the drums blast away behind it. The verse riff is every bit as malevolent as the intro. The chorus is majestically evil. This song is fantastic. The bass is also noticeably interesting. An example of the lyrics from this song is in order:

As the darkest night of them all

falls upon the scorched

home shores

As the great fervour within

is crawling in stasis and dirt

Mgła have long been one of my favourite bands. Although Mdłości will always hold a special place in my heart, With Hearts Toward None is their defining release. Even if you've never heard Mgła before, you absolutely must hear this album. To order, Northern Heritage still has copies on vinyl and CD in stock.

BUY OR DIE!!

Revenge - Scum.Collapse.Eradication
Genre: Black/Death metal
Label: US: NWN Prod. EU: Osmose Prod. Tape: Deathangle Absolution Records
Rating: 9/10

Revenge has never been one for taking things too softly, and Scum.Collapse.Eradication,
does not deviate from that tradition (The opening track Us and Them (High Power),
is a testimony to that, and one hell of track.)  Their 2012 follow up to Infiltration.Downfall.Disease
shows Revenge are still in full form, even though Pete Helmkamp left the band prior to recording of the album. Seeing as J.Read always was the one writing Revenge's material, this isn't really a surprise to anyone. And with Scum.Collapse.Eradication, he may have conjured their best album yet.
The trademark short but violent guitar-solos are as present as ever. So is J. Reads beastly drumming,
hardhitting and furios as always. The strenght behind Revenge has always been their mixture of fast-paced drums over mid-tempo riffs, and the occasional part where everything's taken down to a halt tempo-wise. Giving the music and extra depth, as well as emphasising their heaviness.  Parasite Gallows, and Banner Degradation (a definite highlight of the album for me,) are good examples of how well Revenge manages to execute this, again and again, without it ever being boring or predictable. The vocals this time around are fiercer than they ever was on their previous album.Something I find to be quite delightable.  The lyrical themes are the same as they've always been with Revenge, so I don't see any reason to elaborate further on those. I'll rather just leave you with this excerpt:

"Saving the defective a waste of future heritage 

You are below us

Opposition crushed with iron persuasion 

Strong with strong"

The album is still available through NWN Prod.  and Osmose Prod. 

 

Dark Descent Records is having a very temporary 10% off everything in the store sale, so act now! This label has released some of my favourite releases of late, so I highly recommend them. Also, they have quite the distro going on with plenty to suit all (good) tastes.

BÖLZER - Aura (2013)

Genre: Black/Death Metal

Label: Iron Bonehead Productions

Rating: 9/10

Most Black/Death Metal bands centre around dark, evil themes. While Bölzer are certainly dark, they aren't in the "evil" category. Rather, I'd call them...mysterious. And what this duo accomplishes on this EP is simply amazing, and a big step up from Roman Acupuncture.

Opener "Coronal Mass Ejaculation," starts off with a rather...mystical riff for a Black/Death band. However, it is dark. The vocals are varied between low growls and clean cries. The fourth riff (chorus?) has what I can only describe as a weird sound to it, quite unlike what any other band in this genre would write. In fact a lot of the riffs in this song are that way. A brief sampling of the well-written lyrics shows that the uniqueness does not end at the music: "Ultraviolet hallucination/Photosynthetic onanation/Ultraviolent stimulation/Coronal mass ejaculation."

Track two, "Entranced by the Wolfshook," features some of the most addictive riffage on this EP, and has plenty of that unique style of harmonisation and melody that Bölzer have made themselves known for. The intro riff features KzR playing high up the neck. The picking rhythm in the verse just makes you want to label somebody. "Entranced by the wolfshook/Hypnotized by blood/Condemned to the wolfshook/Accomplice in blood" are my favourite lyrics from the song. The third and final track, "The Great Unifier," is by far the longest song on the EP. It is absolutely filled with great chord progressions. The lyrics are especially killer, like these verses:

Inner calm, outer storm

My demons seeketh rest

Amidst cold, raging times

I am but a demon at best

This calm cannot last

Myself seeketh me

Outside warm, peaceful times

A man I must be

The great sanctifier, shadow-clad fist

The quantum curator, dancer in the mist

The grand neutralizer, in figure of eight

The sword in the seed, your fate germinate

The production on this EP also stands out. Very bassy, clear, and great instrumentation. I own this on tape and it's a fantastic little buy. You can find the vinyl on Iron Bonehead's Bandcamp, as well as a digital download. If you want the tape, you'll have to find it on some distro or discogs. Enjoy, support, and BUY OR DIE.

WATAIN – The Wild Hunt (2013)

Genre: Orthodox Black Metal

Label: Century Media

Rating: 2.5/10

I've hated Watain ever since they became a Dissection clone and the media's pet “serious”/”religious Black Metal” band. Now every casual Black Metal listener and mall-rat thinks they “get” Orthodox Black Metal. However, I thought I'd give The Wild Hunt a fair listen, and I will say this: they no longer sound exactly like Dissection. However, what I went through in my listens was, at times, excruciating.

Opening track “Night Vision” is an instrumental that quickly seems confused. Firstly, it starts with clean guitar playing a stereotypical Watain chord progression that I can't stand. It quickly features accordion and cello, but works its way toward distorted guitar. The rhythm chord progression is actually pretty cool, as is the lead, but before you know it, that ends. After some ambient noise, it segues into track two, “De Profundis.” The main riff is not that bad, but the descending trill that comes at the end of the progression just sucks and sounds out of place. The vocals sound like they were thrown in as an afterthought. They just don't fit the rhythm... at all. Halfway through the song and I haven't been able to identify a chorus. At 3:03 a guitar solo that goes nowhere kicks in. After a final verse, the track ends, and “Black Flames March” begins. It starts off with a pretty righteous riff and lead. However, after this intro, a part where there are far too many fucking trills comes in, and leads into the verse. Evidently in this song Erik thought he'd try out drunken Motorhead-style vocals; they just do not work. At around 4:25 it reverts to the intro. Another verse, and done.

Song four, “All That May Bleed,” is actually a good song. The vocals fit, the music is decent and well-executed. The most lacklustre parts are the solo and the riff that follows it. “The Child Must Die” starts off with a good riff that gives way to a verse that has a slightly eighties feel to it. The chorus is pretty good, as is the riff that follows it. The bridge has a nice, dark sound, and the solo is interesting... And then they wrote “They Rode On.” A fucking ballad. In Orthodox Black Metal. Colour me disgusted, but even so it's as boring as the majority of 80s ballads were. The solo is painfully cliché for this type of song, as is the rhythm guitar track. It becomes especially bad at 6:09. What I really want to know is why the hell did they write this song? What was Erik thinking? Is it his drug-addled mind? For added cliché, as if that weren't enough, they bring in a female singer to duet with Erik...

Track seven, “Sleepless Evil,” at least starts like more classic Watain, but is a boring song with a cool drumbeat. Track eight is the title track and starts off dull; it never really gets exciting. The clean vocals are the best part of the song, and can't really be described as original. Neither can the solo. The acoustic guitar parts to this song are actually good; it's a shame they don't last longer/feature more prominently. The intro to “Outlaw” can only be described as weird. After this it sounds like Watain, but does nothing to draw the listener in. “Ignem Veni Mettere” starts off with a clean riff that is yet another Watain-cliché, it eventually leads to distorted guitar, but the music of the first half doesn't really fit this style of Black Metal. In the second half, it has a personality switch, so to speak. It becomes much darker and more Black Metal. And onto the last track, “Holocaust Dawn.” Yea. It sounds as any classical Watain song might. It breaks form at roughly 3:45 to a clean guitar and an acoustic track with gently sung vocals over it. It returns to form at 5:39. They do their best to make a grand exit with the drums, and then it ends.

I was going to score it 4/10, but because “They Rode On” is so bad, I had to deduct 1.5 points. I know 2.5 as a score is hard to take seriously, but believe me, you'll at best not remember anything from this album, at worst you'll be scarred from hearing that lump of shit ballad. They took the best form of Black Metal, Orthodox, and shit all over it with this record. If you still wish to buy the album, you can do so here. The kiddies might like this crap. In fact, if you're reading this and you like the album, I don't even know what drew you to my blog – perhaps it's the Behemoth review. You would do well to check out what else I've reviewed to get a sense of what I consider worthy music and bands. I feel like I need a shower now. Time for some Deathspell Omega.

SARGEIST – Feeding the Crawling Shadows (2014)

Genre: Black Metal

Label: World Terror Committee

Rating: 9/10

This year is going to be an awesome year for new releases, and already has been, to an extent. New Sargeist! What's more, Sargeist keeps up the quality. Read on to find out what I thought.

The first track on this album is the title-track. From the very first verse, one can feel the gloom. The vocals are different on this album; they're more, sort of, shouted roughly and deeply than screamed with full vocal distortion, though not all the time. Third section features a great, dark riff with a fitting lead over it, however, that lead is difficult to hear. In fact, due to the production on this album, the guitar parts are all difficult to distinguish on most songs. It took me three sets of speakers (my car's, which are a pretty nice custom job, and two sets of headphones) before getting the clearest picture (to say nothing of the multiple listens). At any rate, next up is “In Charnel Darkness,” which, according to Sargeist, is Shatraug's favourite track from the album; it is also mine. It's got almost this “Black Fucking Murder” feel. The darkness seethes through every riff. It is an evil song. The main riff can easily get stuck in your head.

Track three is called “Unto the Undead Temple,” and is a despairingly malefic song. The intro riff, which appears again around 2:30, is the best in the song. “Snares of Impurity” starts with a very Sargeist riff that also serves as a chorus. The lyrics are likewise profane and highly sacrilegious, to all of the songs. Song number five, “Return of the Rats,” sounds as do a lot of these songs, like they picked up where Let the Devil In left off. If “In Charnel Darkness” weren't on this album, this number would be my favourite from the album. The riff at 2:57 is insanely addictive, and carries out the song. Track six, “The Unspoken Ones,” is at first a bit blasé for Sargeist, but the verse makes up for the intro. The guitar at 1:48 is of particular note.

“The Shunned Angel” has a great set of chord progressions in the verse and chorus that are decidedly evil, as is the lead over the rhythm guitar tracks. The lead that starts at approximately the mid-section of the song is, as they say, pure gold. “Inside the Demon's Maze” is murky in the most classic sense. Track nine, “Kingdom Below,” sounds like you expect a Sargeist song to sound. Cut it, and it bleeds black. There are some great leads to be heard in this song, as well. Finally, in closer “Funerary Descent, it is on the catchier side. The riff that starts at 1:27 and the lead that goes over it are priceless, and part that comes afterward is equally awesome. The outro is killer, surprisingly melodic.

Overall, this is a fantastic album. I highly recommend purchasing it, which you can do here The only reason I deducted a half-point from its score was the production; I understand it is Black Metal, but everything was perfectly audible on Let the Devil In. However, for all I know, Shatraug didn't like that about LDI. Anyway, enjoy!

HORNA - Askel lähempänä Saatanaa (2013)

Genre: Raw Black Metal

Label: World Terror Committee

Rating: 7/10

This album is a bit of a departure in some senses for Horna. They use distant sounding mics to record the instruments, and there's a high-pitched whine over everything. Most of all, though, is the new vocallist, Spellgoth. He sounds very different from Corvus, whom I liked, but I have to say I like Spellgoth more. That said, it pains me to say the following.

“Alku” is an instrumental track, consisting of piano and ambient noises. Title track “Askel lähempänä Saatanaa” has a feel befitting its title, which translates to “A Step Closer to Satan.” It is, in its first part, typical Horna, especially in the chorus. The drums pick up following the second verse, and a slightly different section for guitar and bass appears. The lead that follows, at 3:05, in the fourth part, is truly evil in sound. It is a highlight of the album, in my opinion. It comes back at 4:33 and is eventually matched by the drumbeat. It plays for approximately a minute before going back to the simplified version of the verse, and thus ends the song.

“Kunnia herralle, kuninkaalle” has o.k. chord progressiosn and leads. They're sinister sounding, but very stereotypically Horna in sound and structure. That isn't necessarily a bad thing, it's just lacking a... wow factor. The same pretty much goes for “Kuolema kuoleman jälkeen.” The chorus to “Yhdeksäs portti” is perhaps the most compelling part of the album besides the title track. The riff at 1:33 is very welcome to this album, it is dark and original. The second time it occurs, it leads to a decently sombre riff with a great, but simple, lead over it. Track six, “Ei aikaa kyyneleille,” makes it seem like Shatraug came up with a formula for writing Horna songs. The lead that occurs at 1:40, however, is genius. The riff that occurs at 3:15 involves the same lead, and goes on for an extended period. The rhythm and lead that occur at 4:03 are the best on the album without doubt. It is the outro riff.

Track seven, “Kärsimyksin vuoltu hänen valittuna äänenään,” is a track that defies Horna stereotypes. The intro lead is brilliant. After the second playthrough of this lead, it goes into another rather dark lead. The intro is repeated yet again in the later part of the song, which again goes into the subsequent dark lead. “Aamutähden pyhimys” is certainly a number with attitude. Around 4:40 is when it gains its originality; unfortunately, it doesn't go very far before the song ends. Track nine, “Pala tai palvele,” is more standard fare for Horna. 1:36 marks a great lead for the track; wonderfully maleficent. Other than that, it's over as soon as it starts, without leaving impact. Closer “Ota omaksesi, luoksesi,” is one of the mores standout tracks on the album, if for no other reason than the bends on the low string that don't fit Horna's usual repertoire.

Usually, I love everything Horna does. It just does not seem to work this time round. There's nothing new to be offered from this release. The production sounds great, as do the vocals, it's just not up to par musically. The vinyl may be ordered here; for those seeking the CD, a simple search will reveal it.

WOODS OF DESOLATION – As the Stars (2014)

Genre: Atmospheric/Depressive Black Metal

Label: Northern Silence Productions

Rating: 8.5/10

After Torn Beyond Reason, all members of Woods of Desolation left the band except D. the guitarist. To record the drums, he recruited Vlad, the drummer of Drudkh, who does a masterful job on this album. Old, who does vocals, also does a great job, and Luke Mills is on bass, which unfortunately in this mix is nearly inaudible. This recording is in fact very trebly, but it establishes the atmosphere very well.

The opening riff to the first track, “Like Falling Leaves,” is worthy of Torn Beyond Reason. The verse riff has an extreme sense of despair to it. The second verse doesn't have that same sense, but there is a feeling of urgency. The riff that follows the silent/ambient section after the second verse, has a wonderfully depressive feel to it. Track two, “Unfold,” starts with a very solemn clean guitar riff, followed by a distorted guitar rhythm and lead that sound like there is light shining in their world but there they are, austere and with bleakness in mind. That feeling of bleakness pervades the entire song. “And if All the Stars Faded Away” features some weighty riffage right from the start. At 2:18, a section that is notably sad-sounding comes in. There is really no other way to put it. “This Autumn Light” starts clean, with a brooding arpeggio. At 1:27, a powerful chord progression proceeds thence. The second half of this song is not as noteworthy, but it seems to exalt depression.

“Anamnesis,” number five, features a fantastically down lead at 0:32. It returns to this great lead at about 2:05 after some chord progressions that do not quite hit the mark. At 3:02, the piece shifts on a downward spiral, musically, and I mean that in a good way. It leads one to feel crushed, hopeless. “Withering Field” features a dour, clean intro, followed by a riff that feels like the surge of happiness and energy I got each time I attempted suicide. This song retains that feeling for its entirety. “Ad Infinitum” actually seems happy. It's really not until 3:50 that it takes on a depressed feeling. This would get my vote as the weakest track on the album.

I love this album overall; I have faith in D.'s songwriting skills, and Woods of Desolation are a great band. I do not feel, however, that this succeeds Torn Beyond Reason; so far, that album is their greatest achievement. I was especially displeased with the production of As the Stars, as I thought Torn...'s was spot-on. However, I would recommend to buy it. You can buy multiple vinyl formats via the label or digitally here.

SVARTIDAUÐI – Flesh Cathedral (2012)

Genre: Orthodox Black Metal

Label: Terratur Possessions

Rating: 9.5/10

I typically do moment-by-moment reviews of albums, selecting the highlights from my point-of-view. This is not possible with Flesh Cathedral. There are just too many spectacular riffs and leads, the songwriting is too great to attempt such a feat (not to speak of the song lengths). The basswork is equally excellent, and the vocals unique and awesome. The drums kill, as do their tone. I love the snare on this album. The guitar tone is equally divine (diabolic?). Anyway, I will give my impressions of the album and how it effects me.

Lyrically, the album has to do with the erosion of society, and a transcendent form of Orthodox Satanism. The music speaks to me with its darkness, and the psychosis that lies therein. It is like a mind-altering drug. Yet this is not a bad thing at all; it makes me feel tremendous joy and comfort. Others might find it disgusting and anxiety-provoking, but for me, their cries for the dark lord paint the most beautiful picture. I've always listened to this album as though it were one, cohesive piece. Let me present some quotations from the lyrics to further illustrate what I mean.

The Earth is covered in ash and our lungs have filled with worms. The dead eyes close as the disgusting light flickers at the withering horizon. Mutilated flesh and dripping vomit. The shepherds of sickness are caught in a black torrent of the blossoming death. …

Oh illuminating horror trismegistus, vomit forth the laughter of dead birds into the blood soaked mould. Adorn the altar with entrails of whores, from hell I enter the white chapel. A head is lowered in horror before the transcendental mutilation of the mind within the impenetrable night. The perpetual nothing. …

Now let infinite worlds burn black with lust beneath the crystalized eye of dementia. Infuse the rotting hearts and enter the Flesh Cathedral. …

Psychoactive sacraments; Lifeless Shadows and Damnation. Conceived in incestuous congregation, developing gluttony for sin and perverse pleasures. Directed by the devil's hand, like a moth to the flame that is the grandeur of hell. Inhale this repugnant ghost, fill your black lungs with rotting smoke.

It reads like a ritual, to me. And this album also has the most urgent feel to it... As if waiting for Lucifer to return to earth and shed his light upon the faithful is going to prove fruitful very soon.

Now, for full disclosure, I am an antitheist. However, I once was an Orthodox Satanist, and perhaps that is why this album speaks to me so closely. It is a complete package. It is one of my favourite albums, and works like this, like Deathspell Omega's, Cultes des Ghoules's, Aosoth's, Antaeus's, et al, are why this form of Satanism is the most compelling, and to me the most compelling religion if anything were true. One will have to scour Discogs to score this on vinyl. Tape may still be available through Terratur Possessions. Daemon Worship Productions still has some of the digipack CD available. Enjoy AMSG.

PLAGA - Magia Gwiezdnej Entropii (2013)

Genre: Black Metal

Label: Societas Occulorum Arcanorum

Rating: 6.5/10

“Intro – Left Hand Prayers” is a slow, methodical intro reminiscent of “First Prayer” off of Si Monvmentvm Reqvires, Circvmspice. Track Two, “Trąby Zagłady cz. II,” is very sinister-sounding in the main riff. Very catchy. At 2:12 the rhythm guitar and bass play an evil sounding riff and the lead matches it. After this plays through a while, the lead cuts to a desperately maleficent melody, and the rhythm is perfect behind it. At 6:12, a righteous solo comes in.”Śmierć Cieplna Wszechświata” starts off with a more pagan Black Metal feel, oddly enough. When the verse kicks in, the rhythm part has a sort of eighties feel to it, and the lead has a decent Satanic Black Metal feel. So it goes until 2:55, when the song takes a more typical, dark Black Metal feel. When the guitar solo ends at 5:24 an even darker riff starts. I did not think this was a particularly good song at the start, but it has become so, and will remain that way. “Slaying The Spiritless Abel” starts off with an interesting, if simple, riff. The lead at 2:19 is melodic in a dark way, and it works well. The melodic theme stays for the entirety of the song. It features a masterful solo which carries out the track. “Magia Gwiezdnej Entropii;” the intro to this song features a nostalgic sounding riff which I love. It seems to switch moods not terribly long afterward, however. After a brief intermission, so to speak, it returns to riffage that mostly have melancholic feelings to them.

Overall not what you'd expect from a Satanic Black Metal EP. It's mostly good, if not highly original. I would advise definitely paying attention to these guys, as I hear a lot of potential. I just do not feel they've found, and they certainly haven't stuck to, a defining sound yet.

THE RUINS OF BEVERAST - Blood Vaults - The Blazing Gospel of Heinrich Kramer (Cryptae Sanguinum – Evangelium Flagrans Henrici Institoris)

Genre: Black/Doom Metal

Label: Ván Records

Rating: 6.5/10

The first track, “Apologia,” is an ambient track with deeply growled vocals over the synthesiser. The second track, “Daemon,” starts off quietly, with a vocal part that has a tremolo effect applied to it, sharply clipping it out. Around 1:15 it picks up in pace. At 2:06 is a riff that is particularly memorable and catchy. At roughly 3:45 is a doomy riff with constant palm-muted downstrokes that is pleasantly dark. Shortly thereafter, it returns to the doom verse. The outro features an organ that dies, and leaves solely the drums. This segues into the third track, “Malefica.”

“Malefica” starts off with a fantastic clean arpeggio. This is my favourite track from the album. After a while, two tracks of vocals come in, one of which has heavy phaser applied to it, both of them clean singing though. Simple bassline and drums behind it. Then the heavy guitars come in and turn the mood into something contemplative, morose. This is followed by a bleak clean guitar riff and equally so on the distorted guitar. The distorted one eventually starts tremolo picking its part, and adds a sense of urgent despair to the riff. When it repeats later on, there is even a blastbeat section which drives it home more.

Song four, “Ornaments on Malice,” starts with clean guitar, but quickly turns into a distorted tremolo riff. It is, as the title suggests, maleficent sounding. There are eventually clean accents to the distorted guitar. At 3:38 it slows down to clean guitar and organ, with bass backing it up. At roughly 4:25 the distorted guitar comes back in. The distorted guitar goes until the end of the song. Number five, “Spires, The Wailing City,” starts with a simple clean riff. Tremoloed vocals come in (this band sure seems to love phaser and tremolo...a bit too much). At around the 2:00 mark, a track of distorted guitar comes slowly in. At 4:20 it takes a decidedly moody, doom approach, and has some interesting bends. Around 6:55 a killer drum pattern is introduced, with a solid riff over it. This gives over to a classically doom riff. This is interspersed with a tremolo riff. This is played until approximately 12:50, when the music fades out.

Track six is called “A Failed Exorcism” and is immediately very much modern doom; however, this soon converts to a Black Metal number, as the guitar goes tremolo and the drums catch up. The guitar at 2:52 is certainly mournful. It speeds up, but it doesn't lose any of the angst inherent to the riff. Around the 1/3-finished mark, clean vocals can be heard. At this point, the song goes towards Black Metal again, speed-wise. It makes its way back around to the doominess all over again, though. This song is a constant switch between Black and Doom Metal. At about the 2/3-finished mark, it cuts to the original clean riff and doom riff subsequent to that. The closing riff is dark, and is sung over cleanly briefly until the fade-out/feedback.

Track seven, “Trial,” features a chorus singing, with some growled vocals over it. Distorted guitars come in, and slow, march-like drums are put to it. Some mixed up and garbled vocals come in later, kind of in a confused manner. This carries out the song. Number eight, “Ordeal,” starts with fast guitar and drums. At the 1:00 mark, clean female vocals come in over the minimalistic guitar riff.

The final track, “Monument,” starts off with clean guitars, and low growls. It isn't until 3:35 that the heavy guitars come in. They still maintain the doom nature of the song... for a few seconds, and then it becomes mid-tempo, with double bass-drum action, but then slows back down to doom level. As it turns out, the song, as do most on the album, constantly switches between doom and Black Metal. At 8:00 it returns to the beginning clean section and then unleashes a new, emotive riff which consists of higher notes.

Overall, a fairly disappointing album. Tracks two and three, especially three, save this album, because otherwise it is easily forgotten. There are multiple formats of this available for you to buy, which you can do here.

AGALLOCH - The Serpent and the Sphere (2014)

Genre: "Dark" Metal

Label: Profound Lore Records

Rating: 9/10

Agalloch may not be the most extreme metal band around, and are often accused of being hipster metal. To these people, I can issue a confident “fuck off.” I know for a fact that at least Mr. Haughm and Aesop Dekker have excellent and genuine tastes in music, and are great people making even better music. This monster of an album is one such example.

“Birth and Death of the Pillars of Creation” starts off with clean guitar for about a minute, and then slow distorted electrics come in. The electrics have phenomenal guitar tone. Perfect crunch. There is all the while an acoustic rhythm. There is a mournful lead that comes in at about 3:45. At about 4:05-4:10, the chord progression switches, and it's a very nostalgic riff. Then the vocals come in. They are certainly Mr. Haughm's vocals, sounding good as ever. At about 5:50 everything quiets down briefly, until the guitars crash in again, like waves of sadness and depression. The drums have sat in the background for most of this song, but not for lack of skill. I believe that Aesop is truly an asset to this band and has a great drum sound. That drum sound is much better on this album than on Marrow of the Spirit. At 8:39, an absolutely beautiful, lightly distorted lead chimes in. It plays until the outro ambient noise, which segues into an acoustic interlude that is the second track, “(Serpens Caput).”

“Astral Dialogue” sounds more rock-y, in feel, at the beginning, but has a really cool intro riff. At roughly 0:50 the drums come in full-force, with a typical Agalloch tremolo picked lead. The guitar work on this album is wonderful: not technical, just great songwriting with a metal guitar style. It is very true to form for Agalloch. At roughly 3:15, it breaks to a brief acoustic piece, before palm-muted, desperate sounding electric guitar comes back in. It leads to the intro riff being played again, with a lead over it, and then back into the verse. At 4:55 it takes a more Pale Folklorey feel, and then ends. Track four, “Dark Matter Gods,” starts clean, and then comes in a brief section of distorted electric guitar that is dark, and reminiscent of Ashes Against the Grain. During the verse, the bass features heavily, and it is a well-written bassline. The chorus is dark and yet lovely at the same time. I hope the word “lovely” does not scare the reader away, I mean it simply in that it strikes the heart. At 3:29 comes in a quiet section with clean electric guitar and distant, minimal strings. Followed by this is the sort of signature Agalloch build-up and release. It's a sort of climax that happens yet again in the song, only the second time the drumming becomes more...militant. After this, the drum pattern gets interesting. The rhythm guitar track is phenomenal after this build-up, and the lead guitar sounds like something that could be either Ashes or Folklore.

“Celestial Effigy” starts off with acoustic and clean electric with perhaps some minimal chorus on it and drums beneath. It's not long before the distorted parts come in, however. There's a lightly distorted, palm-muted, sort of galloped lead. Then the guitars alternate back and forth between clean and distorted, before settling upon a clean, palm-muted rhythm. At 2:35 it becomes gripping; at this point, you're certainly hooked. Then at roughly 3:20, a blastbeat comes with a tremolo part that quickly switches to emphatically strummed chords with breaks in between bursts of strumming. At 4:54 comes a section which sounds utterly heartfelt, followed by clean electric, acoustic arpeggiation, bass, and drums keeping rhythm. This gives way to a fantastic outro riff and simple guitar solo. A very fast clean electric arpeggio is played after the solo, and when this terminates, just drums remain, and the song ends.

Track six, “Cor Serpentis (the sphere),” is another heart-rending acoustic interlude. It is one track of guitar that goes unaccompanied for its entirety. “Vales Beyond Dimension” is the newest-sounding Agalloch song in my opinion. The introductory chord progression is rather unlike their typical repertoire. However, it does give over to a riff that is very Agalloch, and is more evocative in my opinion. At 2:14 it sounds like classic Agalloch, like something off Pale Folklore. The riff around 3:05 is dark in a stormy, brooding way. The tremolo riff and excellent drumbeat beneath it that start at around 3:43 continue this mood. The section that comes at about 5:05 is a great lead-up to the outro, with a killer little lick that leads it downward.

The actual outro riff is unique for Agalloch. It segues into track eight, “Plateau of the Ages,” an insturmental which starts off with lightly distorted electric guitar and a fairly “sweet” bassline. The drum rhythm at 2:37 is killer, and there is a swell section of guitar that comes in over it, with the occasional strum of an acoustic. The building riff has resolution, something which I think Agalloch purposefully leaves out of a lot of their music; I mean resolution in an existential sense, not musical. Listening to Agalloch is as much an emotional and philosophical experience as it is musical. At any rate, at 4:50 comes a guitar riff and drums that trudge along while tremolo picked, higher notes can be heard over this, though it seems that the rhythm section is the highlight. The song starts to take a different direction entirely at 6:13, with a totally different set of guitar parts. It still stays at mid-tempo, however. I love the electric lead and harmonisation that kick in at 7:31; it matches the mood of the drums and acoustic rhythm perfectly. At 8:25 it gets substantially louder. At 9:27, the drums take on an interesting beat. Eventually it breaks into a lead section, and a dramatic rise in tension. The drums are perfect in this aspect, they keep the tension thick and palpable. The song ends as the instruments fade out, which in turn segues into the final track, “(Serpens Cadua).” Also an instrumental, it is acoustic with some synthesiser over it. It should be noted that all acoustic interludes on this album were played by Nathanaël Larochette of Musk Ox, and masterfully done, I must say (though anyone familiar with Musk Ox could expect no less).

I've come to expect a lot from Agalloch, as have a lot of other people, I think. Every part of this album was tasteful and not one second was overdone. They also worked hard to avoid falling into their own clichés, that is clear. Production-wise, this is a perfect album in my opinion. It is also their most diverse, and potentially the most interesting since The Mantle. To any Agalloch fan, I can say with utmost confidence that you will like this; to those not familiar with Agalloch, I think you, too, will enjoy it. It is an experience unto itself. If you wish to purchase this electronically, you can do so on Agalloch's Bandcamp; if you want the CD, you can go here for that. Enjoy.

Rest in peace, H.R. Giger

SOMBRES FORÊTS - La mort du soleil (2013)

Genre: Métal noir québécois

Label: Sepulchral Productions

Rating: 8/10

Sombres Forêts are musically one of the most talented bands on the planet, given that it's a one man band. Mainman Annatar plays all instruments, including organic drums.

Track 1, "Des épaves," is a beautiful, moving acoustic piece until about 3:05 when reversed clips are played over synthesiser for about a minute, when the acoustic comes back in.

Track 2, "Étrangleurs de soleils," starts with a thunderstorm, simple drumbeat, and a guitar with reverse delay on it kicks in. At roughly 1:20, the vocals start, along with uneffected guitar. It is a beautifully dour verse riff, the bass being masterfully melancholic. At about the 4 minute mark, acoustic guitar takes over while the drums build up beneath them, and distant screams can be heard in the background, then the drums stop, and it's just acoustic guitar with bass for about 10 seconds when the distorted guitars come back in. At about 7:00, the drums come in hard, with the crash being bashed on repeatedly, and then perhaps switching to the ride until the end of the song.

"Brumes," starts off ambient. The guitars come in with a wonderfully emotive riff; the chorus is no less emotive. After a short second verse comes a third section, more heavily distorted guitars, equally effective. At 4:15 is an incredible riff, with a great bassline supporting it. Drumming on this album is notably fantastic.

"Au flambeau" begins with reverbed piano/keys. Waves of distorted guitar break in over it periodically. Then the vocals come, followed soon thereafter by regular distorted electric guitar chords, with a layer of arpeggiated acoustic beneath it. Then it all fades except for the bass and the piano. At about 3:30 the guitars come loudly back into the fold, but not for long, before it fades into another quiet section. Eventually they do come back in for longer, and basically play until the end.

"L'Éther" has perhaps the best bass on the album, in terms of how interesting it is and how tasteful the lines are. My favourite bass riff from this song occurs at about 3:00. If I've noticed one thing, it is that it's difficult to hear the low-end on the guitar on this recording.

"La disparition," song six... the music is beautiful, and very well played. The vocals are the highlight, desperate and pained sounding. For some reason, this song quickly becomes “background music,” so to speak. Nothing stands out to draw your attention in. Still, a great song.

Finally, we come to "Effondrement." It starts off with the same reverse clips of guitar and drums as is in track one. It cuts to piano, which plays a lovely part. The entire song is in fact piano.

I can recommend purchasing this album. It is very deep, and requires multiple listens to get everything, but if you're willing to dedicate the time, you'll be in love. It is only available on CD for right now, available here. In my opinion, this album outdoes all of his work except Miserere Luminis by quite a bit.

DREAD SOVEREIGN - All Hell's Martyrs (2014)

Genre: Doom Metal

Label: Ván Records

Rating: 9.75/10

Looking for some really good Doom? Like really, really good fucking Doom? Especially if that Doom is in a classical style? Look no further, Dread Sovereign will cure all your ills with their debut album, All Hell's Martyrs. Comprised of three members, Nemtheanga on bass and vocals, Bones on guitar, and Sol Dubh on drums.

After the soundbite intro track comes an ultra-traditional doom number called "13 Clergy to the Flames." For the most part Nemtheanga keeps his vocals different from how he sounds with Primordial - you'd never know it was him. The drums on this song kick ass, especially when the double bass kicks in. There is a very rocking solo at the end of the song. The next tune is a darker, heavier one entitled "Cthulhu Opiate Haze." The verse opens with some arpeggio, which switches to palm muted picking through wah being opened and closed, and the lick that comes after the chug is very evil. Eventually the drumbeat joins that rhythm and it sounds wicked. After this verse, the song sort of spaces out until about 6:20. This riff will stick in your craw. At about 7:40 the guitar solos and creates odd noises; the bass holds an excellent rhythm sound underneath it. Track four, "The Devil's Venom," is an instrumental track; sounds like synthesiser and soundbites once more.

"Pray to the Devil in Man" is, from the very start, addictive; if you like doom, this will be like Morphine for your brain. Vocally, it's definitely Nemtheanga, but that's not at all a bad thing. The guitar riffage is priceless. The one that starts around 3:18 is assured to evoke the chills. After this, double bass drums come charging in under mid-paced guitar. This is just one very well-assembled song. Then comes one of my favourites from the album, "Scourging Iron." This song rules. The guitar just never stops being damn cool. I've been neglecting the bass, but it's just as good as the guitar, and has wonderful tone. At roughly the four minute mark is a ripping guitar solo. Eventually, the instruments die down, leaving the bass the plod on, the guitar to feedback, and the song ends. Track seven, "The Great Beast Speaks," is another instrumental in the vein of the previous ones.

"We Wield the Spear of Longinus" is another favourite of mine. I could probably say that about any of the songs on this fantastic album. It starts off very slow, at least relatively. When the guitar kicks in, it kicks in with fury. Around 6:35, the song transforms. It picks up speed. Then around 7:20 it kicks into high gear and rocks the fuck OUT. Lyrically, this song sounds like its a hymn to Satan. I like. The riffs and solos that follow are dramatic and orgasmic. After the climax of the song, the guitar fades with wah, leaving only distorted bass. Song nine, "Cathars to Their Doom," starts off slow, but immediately gets stuck in your head. Awesome, awesome chord progressions. Then it gets heavy. After the heavy riff it returns to and expands upon that amazing first chord progression. Repeat. Eventually he sings over this most excellent chord progression. At 4:36 the song goes through a transformation. One of the coolest riffs in recent memory occurs at 5:02. The vocals kick major amounts of arse in this part (666 CATHARS TO THEIR DOOM). Only Satan himself could write something this good... Once again, this song features a guitar he just shreds the shit out of, not in the lame eighties way, but the awesome seventies way.

And we come to the closing track (I'm actually depressed that in 13:some-odd minutes this album will be over). Track 10 is called "Live Through Martyrs - Transmissions From the Devil Star ," and to start, it begins with a haunted sounding guitar riff and sparse bass and drums. Around 2:20 this opens up nicely, and the vocals kill it, once again. I am convinced that Nemtheanga could not do poor vocals if he tried. He definitely has one of the best voices in metal. At any rate, it returns to that oozing, sparse riff. Once again to that open riff; it obviously has synthesiser over it, but it only increases the dramatic tension. The guitar has a solo at 6:57 through wah that is rather unique, it utilises a lot of lower notes. Around 8:45 there is a build-up in the drumming that is rather gradual, and then a guitar solo with fairly light drumming beneath it. It's basically soloing and jamming out on the bass and drums and synth for the rest of the song at this point. A fine way to close out such a spectacular album.

I truly did not want this album to end. If you are a poseur, if you are a neckbeard hipster who listens to atmospheric stoner/sludge, this album is not for you. If, however, you are up for some killer fucking doom metal, perhaps the best since Warning's Watching from a Distance, and at that an altogether different type of doom, with relatively "light" guitars and drums, then this is an album for you. It receives the highest score I've given an album yet, and I probably won't repeat it. This is my new favourite album.

Right now, vinyl is unavailable through Ván. You can purchase the CD here, or a digital copy from their Ván set up Bandcamp. I plan to track down that vinyl. I also can't wait for more from these guys.

BUY OR FUCKING DIE!! 

LANTERN - Below (2013)

Genre: Death metal

Label: Dark Descent Records

Rating: 7/10

I didn't know who Lantern were before perusing Dark Descent's Bandcamp, I must confess. I am glad that I discovered them. This is some well-executed death metal, featuring a killer, traditional death metal production and sound.

The opening riffs to "Rites of Descent" are very interesting, and then it gets down to business, plumbing the depths. There is a lead which sounds psychotic, consisting of trills, that is then followed by a lead played high up on the neck that ends in a tremolo bridge drop. There's a quick, tasteful solo thrown in there. After some more lower-string dwelling, another tasteful solo is thrown in there. Next up is the song "Revenant." The first real highlight of this song is the chorus, in which there is a great solo. Around 4:08 the riff gets pretty memorable.

The third song, "Entrenching Presences," features some really killer manipulation of the guitar, followed by a guitar solo, and then more riffing around. It takes until the halfway point, however, to get truly memorable, with a huge, descending chord progression, with implied dissonance. There's some pretty wild soloing around the 5:30 mark. "Manifesting Shambolic Aura" may be the best song on the album. Riffs that actually get stuck in your head, all-around fucking sweet death metal. The lead at about 2:25 in "Demons in My Room" is a particularly memorable lead. This is a surprisingly slow song for death metal. Slow and emphatically evil. The title track is actually a slow instrumental. It is followed by the seventh and last track, "From the Ruins," which is a frenetic song that starts off with hyperblasting and tremolo picking aplenty. It abruptly slows down in the verse. This is definitely the darkest song on the album. The section at 6:49 is particularly of note.

Admittedly, death metal is not really my bag. I bought this album because of its production and darkness. It's a solid album and I do not regret that. I do recommend checking them out, but as this is not their first album, it is a little disappointing in that aspect. The best feature besides the production is probably the guitar soloing. It's nearly always tasteful, not the whammy-bar obsessive crap one usually hears in death metal. This album can be had here.

BEHEMOTH - The Satanist (2014)

Genre: Blackened Death Metal

Label: Metal Blade

Rating: 8.75/10

I love Behemoth's early releases, I will say. Their later releases, though at one time I loved them, no longer. Their sound, style just got to me, and I thought it was played out, tired, and boring. I was really waiting to see what 2014 would bring, as Nergal said it heralded big new changes in their sound. And that it did. This album is really more Black Metal than death metal, although of a somewhat too polished kind. Just how much? Follow, and find out.

Opener "Blow Your Trumpets, Gabriel" starts off with a repetitive riff. When the vocals come in, they are very obviously Nergal's best. Caustic, phlegm-filled, throat-tearing vocals. Abruptly at 2:24 it cuts to a much faster, blasted section, with the following lyrics: "Hosanna Hosanna/Tribe ov Judah decimate/Hosanna Hosanna/Root ov David eradicate," which immediately brings me back to my childhood singing "Hosanna in the highest" in church. Normally I shy away from bands that use "ov," but these lyrics are just too good. Following this is a very dark, emotive riff that leads to a ferocious outro. The next song, "Furor Divinus," is much faster. When the blasting starts in, it leads to a very intense verse. Inferno's drumming is killer, very effective here. The lead behind the following lines, "In my hour ov pious wane/I turned to boundless catechism/Behold the anathema ov benediction/Sacrilege in Gethsemane manifest" is wonderful, and again, reminds me of my churchgoing days. Of course, being Behemoth, this is sacrilegious.

"Messe Noire" is my favourite track off this album. My favourite lines open the song, "I believe in Satan/Who rend both heavens and earth/And in the Antichrist/His dearly misbegotten. It has a mysterious darkness. It's mid-tempo, which is odd for Behemoth, though in its chorus it picks up, with machine-gun guitar punctuations and blasted drums. After the second chorus is felt a dark, although in a Behemoth way, lead on guitar. It then returns to the mid-tempo verse. Some very nice solo-work by both Nergal and Seth close up the song. "Ora Pro Nobis Lucifer" sounds like it could be off of Satanica in the verse, though the chorus is genuinely more sinister than most anything on that album. At 2:46 a horn solo comes in, followed by a riff that might get stuck in your head (that frequently occurs on this album). 

"Amen" is a blastfest. An overwhelming song on drums, the guitars are simple and fast. The lyrics, utterly blasphemous, a reworking of the Hail Mary prayer. The song slows down dramatically at about its halfway point, and then picks back up to lightning speed at 3:10 after a drum build-up, and ends abruptly. The title track starts off quiet and gentle, with semi-clean guitars being strummed. This is another mid-tempo number. The lyrics to this song, as with most of the album, seem to be taking the band in an Orthodox Satanic bent, which I'm happy to see, I must declare. They're highly symbolic and poetic, but there are clear moments of dedication to Satan as lord, master, and deity. The end of this song reads:

I decompose in rapture ov hells

Dissolve divide disintegrate

I am yours

In euphoria below

I cast my halo from perdition's clay

Behold my bliss profane

Born ov a lie

Condemned to lurk

Live in denial

Yet coiled aflame...

I am the great rebellion

Neath Milton's tomb I dwell

An existence even sin would not pardon

No guilt, no reason, saviour, or shame

After the final verse, Nergal lets loose a heartfelt, bluesy solo, followed by Seth, and then both of them calling each other back and forth in solo form. Horns along with a tremolo picked arpeggio and blasting on the drums carry out the end of the song.

"Ben Sahar" starts off quietly as well. Guitars don't kick in until 0:19, and there's even an acoustic line behind the electric. Again, mid-tempo rules this roost, at least at first. At 1:29 it speeds up, not by a lot, but some, with the double-bass thudding away at a high rate of speed. Then it apparently goes back to the verse, where an acoustic guitar can still be heard arpeggiating behind the electric. I would like to give another extended quote.

Hearken dogs ov Nazarene

Linger at St. Peter's door

Partake from the well ov nothingness

Bite the withered hand ov god

Ascend shall I unto the heavens

Exalt my throne above his celestial display

Sit shall I upon that mount ov congregation

Far toward the north

The lead that follows "With fire in hearts!" is a satisfyingly dark one, and a different, yet still dark, riff ends the song.

"In the Absence ov Light" is a very fast song, with a simple, tremolo picked riff and blastbeating behind it.  At approximately 1:15, the song cuts to acoustic guitar, with some sax distantly behind it, and Nergal reading off in Polish. Following "ludzkim," it immediately kicks into high gear. From this verse, I most like the lines 

Oh Lord, whence came this doubt?

Thou doth know I am all and everything

Let loose my shackles

Let chaos reign

Infecting moral arteries...

Then a sort of mesmerising, hypnotic riff comes in behind that to terminate the song.

Lastly, we have "O Father O Satan O Sun!" At 7:13, it is the longest song on the album. The verse also has perhaps the catchiest rhythm. It is mid-tempo, yet again. At about 2:25 is the solo section, a highlight of the song. It's a fairly exalting song, perhaps best showcased in the following section of lyrics

Hear me, and make all Spirits subject unto Me;

so that every Spirit of the Firmament and of the Ether:

upon the Earth and under the Earth,

on dry land and in the water;

of Whirling Air, and of rushing Fire,

and every Spell and Scourge of God

may be obedient unto Me.

The riffage behind these last verses mires in the murk and is certainly catchy, but final. This may be Behemoth's most diverse song so far, and a landmark track at that.

This album brings Behemoth back into relevance. The production is on the ultra-clean side (though the guitars are definitely grittier than,, say, Demigod), so I'm going to have to deduct from its final score, but for the lyrical content, and showing that Behemoth can do something drastically different and still be a vital force, a force to be reckoned with, as the cliché goes. Congratulations to Nergal and co. for stellar performances all around.

I own this on CD, and the layout is great. It is available on vinyl as well, if you prefer. You can find everything you need Behemoth-related here, where the money will all go to the band themselves, and there are actually some signed copies of the vinyl remaining.

NEIGE ÉTERNELLE - Neige Éternelle (2013)

Genre: Métal noir québécois

Label: Sepulchral Productions

Rating: 7/10

Neige Éternelle's debut album is actually a kind of raw Black Metal, but still falls into the MNQ scene. Their lyrics are about Québec patriotism, nature, and thoughts. The music is good, but it's nothing particularly original, especially in light of what has been done by their peers lately. It's well executed, but still not particularly special. Sure, it has its moments where something sounds particularly sinister and that hooks you, but that just raises another question: why does their music sound sinister and dark and "evil" for the most part, when the lyrics are about Patriotism and nature and "sad thoughts?" I do not get it. Not even the song "Triste Pensée," literally "sad thought," sounds depressing. This CD has more to do, musically, with Horna than with Forteresse, for example, a Patriotic band whose lyrics are reflected in their music.

I do recommend buying this CD, as, if you like raw Black Metal, you'll like this. However, it might only appeal to MNQ die-hards. The album appears to have sold out, so you'll have to look on Discogs or Ebay for a copy.

Upcoming concert:
Quinze Années Sépulcrales : Antaeus/Sombres Forêts/Forteresse/Chasse-Galerie ++

I am sexually aroused.

DRUDKH - Вічний оберт колеса (2012)

Genre: Atmospheric Black Metal

Label: Season of Mist

Rating: 7.5/10

After a disappointing foray into the mixture of shoegaze and Black Metal that was Пригорща Зірок, Drudkh returned to their atmospheric roots. All of the instruments in this album are fantastic, remember that. I'll get back to this. This album has to do with the pagan Slavic idea of the wheel on which the world spins that causes the seasons, if I've understood it correctly. The lyrics heavily feature nature, are beautifully written, and each song deals with a different season.

With an intro track, "Вічне коло," that is sounds of nature, they proceed to track two out of five, "Подих холодної чорної землі (Березень)." This song is supposed to represent the beginnings of spring, with the name of the month March in parentheses (this occurs in each song, a different month). This album is reminiscent of a higher production-value Forgotten Legends in style of writing, with really just a few riffs dominating each song. Some of the riffs in this song have a definite Ukrainian touch, but it's a blend of the wall of sound riffs of later Drudkh mixed with that that dominates the album. "Коли боги залишають свої смарагдові чертоги (Серпень)," song three, deals with August. I think this is their strongest song from this album. It sounds like it could be from Кров у Наших Криницях, at least in part. It communicates mostly a feeling of strength, musically; lyrically, it's about the gods and their sweet gifts given to man upon the change of summer to fall. The outro riff feels very terminal, and it fades out. A very well-written song.

Next up is "Прощання зі скорботними птахами осені (Жовтень)." I love the lyrics to this song. But it may be that what I love most of all is that this song does  not give an impression that they were trying to point to or copy the feel of a past album. It is modern Drudkh, and that is an excellent thing. At about 2/3 the way through, it cuts away to a wind effect, and the sound of a bird, but then the music restarts. The riff at 4:25 is priceless, as is the one that conjoins it. Then at about 4:51 is another great riff. Then it returns to the main part of the song. The lyrics and the music to this song are so powerful. It ends with the sound of birds and someone walking through snow. Next is "Ніч зіткана зі снігу, вітрів та сивих зірок (Грудень)." This song, dealing with December, has phenomenal basslines. In fact, the bass is great throughout this album, but it really steals the show in this song. It's clearly audible under the main riff. After the main riff comes a very emotive section of guitar such as Drudkh has proven expert in crafting. It is a heartful song. Whoever wrote the lyrics to this album is a brilliant writer; these lyrics are so evocative. Upon checking, if you do not understand any Ukrainian, stick this song's lyrics into Google Translate. It gives a clean, flawless translation, unlike with the rest of the songs from this album. About 3/4 of the way through, it fades to wind again, with light guitar playing over it. It's actually a wonderful outro.

I thought this album was a great return for Drudkh. It's not as amazing as their stuff Microcosmos and before, but it's promising. It's certainly worth purchasing. If you want the vinyl, you'll have to peruse Discogs; I don't know whether there is a jewel case CD, and the digipack sold out long ago. At any rate, you can always buy the electronic files of their albums via the Bandcamp that Season of Mist has set up here.  Слава!

CSEJTHE - Réminiscence (2013)

Genre: Métal noir québécois

Label: Eisenwald

Rating: 7.5/10

I first heard Csejthe in 2011, early in that year, with their debut album La mort du prince noir. It featured melodic, gripping tunes, and I was very impressed. Then I saw them live, at the first Messe des Morts; they were one of the most captivating performances of the festival. When they announced the pre-order for this album, I was all over it. And I'm glad I was.

This is a great album, let me start off by saying that. It has a flaw, however. It is very cohesive - to a fault. For the first half of the album, at least, I cannot tell which song I am listening to, because, while they are all very good musically, with guitar riffs that make you forget whether or not you heard vocals, moving, fetching, and everything you would want in an album, they all more or less sound the same. It pains me to say that, because it usually means that the band and/or the album suck(s). That is certainly not the case here. I love this album. I think it is everything a MNQ album should be. I even think you should go out and buy this album right now. But just be prepared that, even after perhaps 20+ listens, you might not be able to figure out which song you're on, or whether or not this is an instrumental album. As it says in the description on Eisenwald's site, this is an album to get lost in. For these reasons, I will not be doing a song-by-song review of the album. Look it up, listen, and then you'll be convinced.

You can purchase the album here.