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

Thursday, February 25, 2016

Review: Heathen -- S/T (5th/Blue)



Since January 2015, a little over a year ago, an esoteric, probably Canadian, allegedly Norwegian act known as Heathen has quietly issued a steady release of high quality underground metal albums.  And when I say “high quality,” I’m not talking about production value.  Heathen’s sound in closely akin to the raw, DIY recordings of the early 90’s Norwegian metal scene in all the best of ways.  To date, the outfit has released five albums, as well as two demos that were made available towards the end of 2015, in October and December.  Heathen presses all albums solely on cassette tapes with very limited, hand-numbered production runs ranging from 25 to 100 cassettes.  Select tracks from each album are available for free download on Heathen’s bandcamp site, but as far as I can tell, there is no other way to acquire the band’s music (except via the secondary market), as all albums are currently sold out.  I was fortunate enough to receive a copy of Heathen’s latest release, Heathen (aka 5th/Blue), and the recording simply blew me away.
Heathen scratches an itch that has festered beneath my skin for some time now.  This album hoists high the waning torch of the early Norwegian black metal scene—and not through relentless blast beats, belligerent vocals, or incessant tremolo picking, but through pure atmosphere and raw production.  Leaning on pedigrees and commercial appeal, many bands these days claim to champion the true Norwegian sound, but honestly most of it sounds like death metal that's been kicked in the balls, minus the guitar solos.  Heathen makes no claims, rejects commercial ambitions, and simply lets the music do the talking.  With roughshod production, Heathen ferments a nuanced sound that is saturated with buzzing, distorted atmosphere.  Layers of guitar tone open and close upon the listener, who quickly finds him/herself submerged in an abyss of arcane mysticism.  The hazy production encourages the listener to focus attentively on every sound and subtlety of the recording, as if picking up on a transmission from a parallel dimension, a land lost to space and time.  The closer one listens to each note and texture, the more mesmerizing the sound becomes, until eventually one has been spirited to the world of Heathen’s creation.  Enthralled by this ever-expanding alternate reality, the listener relinquishes control, and the recording swallows him/her whole.
The compositions on Heathen are equally varied and trance inducing.  Bolstered by a rumbling kick drum barrage, dancing high hats, and invigorating tremolo riffage, “A Claim to the Skies” jump-starts the record with a galloping rhythm, like a pale horse charging into battle on a frosty dawn.  Second track, “The Satanic Mill” invokes the type of sinister, dissonant melodies that all good black metal releases should possess.  Heathen buries the vocal performances perfectly in the mix so as to evoke a more harrowing sound.  Rasps and screams surface as if from some tormented being trapped in a deep, hostile pit.  On top of these vocals, Heathen hypnotizes the listener with coiling, cyclical riff-snakes.  All of these elements combine to pay significant homage to the profound atmospheres and necro production style found in the early works of bands like Burzum, Ulver, and Satyricon, among others.   However, this album is not merely a ritualistic invocation of the past.  It expands and improves upon frontier concepts of the genre.  Heathen assembles entrancing, single-riff behemoths of songs that maintain a sense of anticipation in a way that Burzum utterly failed to do on 2012’s Umskiptar.  Additionally, Heathen introduces harmonic elements to it’s layering of guitars and synths in a fairly unique way that augments the enchanting quality of the songs.
Plain and simple, Heathen is black metal done right.  While old bands turn progressive or symphonic and new groups peddle blackened-ambient-post-dronegaze crap, Heathen looks back to the roots in an effort to cultivate new growth.  This is what the early Norwegian scene did: it created this entirely frigid, wholly separate mental reality that was completely foreign to any mainstream sensibility and yet strangely and utterly familiar to the human psyche.  And this is what Heathen accomplishes today.  Sounds like some [not so] "Feeble Screams from Forests Unknown"…


Score: 9/10

Monday, July 8, 2013

Metal Mondays: My Top 5 Most Epic Black Metal Songs

The word epic is thrown around a lot these days.  This common usage threatens to taint and cheapen what it really means to be epic.  Here are five songs that embody the word epic in its truest sense, through length, dynamics, and sonic storytelling.

5. "Capitel V: Bergtatt - Ind i Fjeldkamrene" by Ulver
Even the name of this song is long.  The acoustic elements enhance the fable-like quality of this eight minute journey through the last chapter of Ulver's Bergtatt, or Taken into the Mountain.

4. "With Strength I Burn" by Emperor
A dynamic adventure filled with punishing riffs and a good mix of harsh and clean vocals.

3. "Svarte Vidder" by Enslaved
As I may have mentioned before, the opening of this song screams epic.  The steady-building melody, augmented by choral synths, readies the listener for deep travels through Norse lore.

2. "Det Som En Gang Var" by Burzum
At 14 minutes and 22 seconds, this song captures the essence of epic.  Slowly building black metal riffage combines with enchanting atmospherics to create a world apart.

1. "A Fine Day To Die" by Bathory
I had to go with Bathory on this one.  The name says it all.  Get ready for a ride through the age of the Vikings. 

So, set aside an hour on a rainy day and listen to all five of these epic pieces.  You may not come back the same.

Just a quick note: this installment concludes the black metal arc of Metal Mondays.  In addition, I may take a break from Metal Mondays for a brief period, but stay tuned for more top 5's in the not-so-distant future.
 

Monday, July 1, 2013

Metal Mondays: My Top 5 Black Metal Albums

I was almost too afraid to attempt this list.  There are a LOT of stellar and seminal black metal albums, and narrowing them down to a top 5 is a tall order (also, I was worried Varg would stab me if I didn't put him first).  Anyway, I guess the thing to keep in mind is that this is my personal list.  I'm sure plenty of you will disagree with my choices, so please feel free to post your own top 5.

Image from: http://www.themetal-spirit.com/2008/02/enslaved-frost-1994.html
5. Frost by Enslaved 
Some say Eld is Enslaved's best old school release; some say Vikingligr Veldi.  For me, though, it's Frost.  This is a great little album that has a lot going for it.  The intro track is easily my favorite synthetic piece in black metal (sorry Varg); it is both chilling and beautiful.  The folk elements on "Yggdrasil" and "Isoders Dronning" really spice up the album.  And "Svarte Vidder" is one of my favorite tracks of all time.
Image from: http://www.avantgardemusic.com/wordpress/?p=903
4. Nattens Madrigal by Ulver
This is just a great, utterly raw release.  Garm's vocals shine on this truly grim recording.  Each track even ends with around 30 seconds of foreboding noises before the next track begins.  In addition, the album harbors some of the best, most haunting tremolo riffs in black metal.  I also like how the tracks are simply named "Hymn" I through VIII.  The album carries an identity as a whole.
Image from: http://www.metal-archives.com/albums/Mayhem/De_Mysteriis_Dom_Sathanas/254
3. De Mysteriis Dom Sathanas by Mayhem
This album is simply epic.  The opening of "Funeral Fog" builds up delightfully ominous tension.  As soon as this tension is released by that lone guitar riff and the ensuing cascade of percussion, I am taken to another plane of existence.  The drumming is the highlight of this album: pounding, energetic, and with a good sense for theatrics.  The vocals are unique as well.  And the album carries a morbid aura, being the first release after the suicide of Dead (Per Yngve Ohlin) and murder of Euronymous (Oystein Aarseth).

Image from: http://fanart.tv/artist/49cd96a6-42c3-44f6-ba2a-cd9301046b96/burzum/
2. Burzum by Burzum
For many, Hvis Lyset Tar Oss is Burzum's masterpiece of epic black metal.  For others, Filosofem is his magnum opus of atmospheric darkness.  But I'll always be taken with his first full-length release.  Sure, it contains the oft-mocked "War" and the borderline filler tracks "The Crying Orc" and "Dungeons of Darkness."  But any album that kicks it off with the legendary "Feeble Screams from Forests Unknown" and "Ea, Lord of Depths" makes a strong case in my court.  Burzum is the master of the sinister riff, and this is where it all started.
Image from: http://johnnyringoreviews.wordpress.com/2012/02/28/
1. A Blaze in the Northern Sky by Darkthrone
I was tempted to pick Under a Funeral Moon here, but I can't listen to the opening riff on "In the Shadow of the Horns" without choosing its predecessor.  Darkthrone would argue that this album really contains three black metal tracks and three death metal tracks, but, whether they like it or not, this album in its entirety was a major influence on all black metal that came after it.  It exudes dark, spacial minimalism of the best kind.

 

Sunday, June 30, 2013

Album Review: Sunbather (Deafheaven)

Image from: http://www.stereogum.com/1359131/stream-deafheaven-sunbather/album-stream/
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Deafheaven’s Sunbather (Deathwish Inc.) is a few weeks old now, but I have received a number of recommendations concerning the album, so I figured I would give it a review.  Deafheaven is a San Francisco-based group that has grown from a two-piece outfit to a band of five since its inception in 2010.  As the band’s sophomore release, Sunbather takes a more experimental route than its predecessor.  In doing so, it lives up to the positive reports I’ve heard.  That said, the album is not without its controversy.  I have seen much debate and discussion online dealing with the categorization of this album.  Is it black metal?  Is it glorified shoegazing?  Does it deserve to be called either?  I’ll briefly give my take on this issue, if only to give a sense of what the album has in store for the listener.  With its screamed vocals, blast beats, and fast, distorted guitar work, Sunbather certainly resembles black metal, but it departs from the traditional form of the genre by dropping its sinister tone (for the most part).  In addition, Sunbather often produces the wall-of-sound effect that shoegazing is known for, but its approach is more intense than that of traditional shoegazing.  Ultimately, the classification of the album depends on perspective.  If you view genre as a static entity that assumes a rigid set of rules and standards upon its creation, then this album likely won’t fit your definition of black metal (or shoegazing).  But if you view genre as an organic entity that can change and develop over time, then you could view this album as a branch of black metal or shoegazing (or a fusion of both).  Either way you look at it, Sunbather is an amazing album that rocks from start to finish.
            Now let’s discuss the album proper.  Sunbather is an artistically ambitious release.  For starters, the album is emotionally complex.  Distorted passages with an uplifting tone are juxtaposed alongside clean-plucked segments that carry a heavier, sullen mood.  Through deft manipulations of melody, the band at once invokes feelings of alienation and triumph, melancholy and resolve, desperation and ascension.  The songs also seem to follow a certain pattern.  The odd numbered tracks consist primarily of muffled, high-pitched wails, dense, distorted strumming and tremulous blast beats.  However, they also include clean segments that help to build tension and emphasize the brutal passages through contrast.  Alternatively, the even numbered tracks defy conventional song structure and seem to focus more on sonic themes.  They contain elements such as clean, layered guitar work, ominous bass sounds, piano highlights and spoken word samples.  These even numbered tracks seem to provide space for reflection, allowing the listener to process the emotions unleashed in the odd numbered tracks.  They offer the listener an emotional denouement of sorts.  The conclusion of “Irresistible” even lends the listener about 20 seconds of minimal sound for quiet contemplation. 
            The album is also highly atmospheric and evocative.  For me, the song “Vertigo” is the highlight of the release, and it serves as a good example of Sunbather’s atmospheric suggestions.  Opening with creepy, dissonant plucking and heavy bass, the track feels like a slow plummet into a deep, dark cistern.  As the song starts in earnest, the dance of the lead guitar over thick rhythm work evokes the racing mind of a body descending into cold waters.  In time, the vocals surface as a desperate cry, dragging the listener irrevocably into the artist’s world.  On the whole, the album evokes a noble struggle in the face of a debilitating, disenchanting reality.  This suggestion is reflected in everything from the distressed vocals to the brutal guitar and drum work to the somber tone of the melodies.  Beneath these emotions, however, the album also weaves hope and faith in reconciliation, with reality and oneself.  In my opinion, this is an album about the resolution of emotions.  Surely, most music touches on this to some degree.  Sunbather, however, is not only a vehicle for emotional release, but also an artistic embodiment of the process. 
            Perhaps you find all that interpretation a little overindulgent.  That’s fine.  But musically, Sunbather’s sonic experimentation makes it an album that pushes the limits and asks questions.  Questions like, what is heavy? what does metal sound like? what do anger, sadness, affirmation, and contentedness sound like?  Ultimately, the answers to those questions are up to you.  But for Sunbather’s part, its bold, genre-breaking approach has earned it a high mark in my book.  Earlier, I said that the album is artistically ambitious.  I think the artists have succeeded in their ambitions.


Score: 10/10
 

Monday, June 24, 2013

Metal Mondays: My Top 5 Black Metal Vocalists

I've been digging in the crates for black metal a lot recently.  Cloaked equally in stylistic innovation and grisly controversy, it is an intriguing genre.  Of all metal genres, I think it has the most consistent and richly developed visual aesthetic accompanying its musical one.  This is part of what makes it so interesting, along with its pagan and nihilistic philosophies.  In honor of this genre, I'm starting a series of personal black metal "Top 5's," focusing mainly on the Norwegian second wave (apologies to all the Venom and Bathory fans out there; the second wave is the movement I'm most familiar with, though I am a big Quorthon fan).  As of now, I plan to make this the first arc in a larger series of metal rankings under the title Metal Mondays.

 So to kick it off, here are my top 5 black metal vocalists:

5. Satyr of Satyricon
A great rasping snarl.  Check out Satyricon's albums from Dark Medieval Times through Nemesis Divina.

4. Ihsahn of Emperor
His shrieks resound with howling torment.  In the Nightside Eclipse and Anthems to the Welkin at Dusk are classics.

3. Grutle Kjellson of Enslaved
His guttural rasps light up every Enslaved album.  The protracted groan at the start of Frost's "Svarte Vidder" always gets me going.

2. Hat of Gorgoroth
High-pitched and hateful, just the way I like it.  He was Gorgoroth's first vocalist and deserves more recognition, as he is little-known.  Check out their first album Pentagram; it's a hidden gem.

1. Varg Vikernes (a.k.a. Count Grishnackh) of Burzum
Varg certainly has his worshipers and his haters, and he really deserves neither.  However, I think he is a great artist who does deserve musical praise.  The screams on his early recordings (I'm thinking of his first album through Hvis lyset tar oss) are the epitome of nihilistic despair.  Good stuff.


Now, I'm sure you all have furious contentions and disagreements, so let me know what you think of this list and who you would put in your top 5.

Tuesday, June 18, 2013

Album Review: Halo of Blood (Children of Bodom)

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Continuing my tour of Europe, I decided to stop by Espoo, Finland, to listen in on Children of Bodom’s latest album, Halo of Blood (Nuclear Blast Records).  Arguably the most popular metal group in Finland, Children of Bodom have seen each of their previous seven albums achieve Gold certification in their home country.  In light of such long-running success, the group has had me wondering when it would hit a creative wall.  The stories of groups like Metallica have left me convinced that most bands simply can’t keep it up forever, that they either run out of ideas as they age or allow their artistic egos to lead them astray.  Well, apparently Childrem of Bodom is not one of those bands.  Their recent effort is stunning.  With Halo of Blood, Bodom adds ten more scrumptious items to their long menu of metallic delectables.
            In their signature style, which both draws on and transcends multiple metal traditions, the Finnish giants deliver an album of technical virtuosity and diverse approaches that is sure to have something for every metal fan.  From the first track onward, guitar-maestro Alexi Laiho drops lead flourishes like tasty morsels, baiting listeners along until he snares them with his sophisticated solos.  Standing at the emotional core of the album, the rhythm section showcases its skill by commanding slow trudges and blistering gallops with equal drama.  And, as always, Janne Wirman’s keyboard work is a highlight of the recording.  It truly sets Children of Bodom apart from other acts.  His dazzling solo digressions buzz with an intergalactic flair, and his star shines even brighter when he plays in tandem with his fellow musicians.  For me, the Bodom sound is at its pinnacle when Laiho and Wirman harmonize on their respective instruments.
            The strength of Halo of Blood lies in its variety.  The tone of the album ranges everywhere from blissfully bleak to tantalizingly triumphant.  Not afraid to change pace, the Bodomites offer the slow, thundering ballad that is “Dead Man’s Hand on You” alongside the speed-driven assault of "Damaged Beyond Repair."  The track, “Halo of Blood,” presents black metal stylings reminiscent of Satyricon, with ominous tremolo picking and shuddering blast beats.  On the other end of the spectrum, the coupled rhythmic barrage of guitar and bass pedal work on “Transference” reminds this reviewer of death metal innovators, Death.  To top it all off, the band tags interesting spoken word samples on the ends of “Waste of Skin,” “Scream for Silence,” and “All Twisted.”  These samples add a fresh flavor to the album and help to create thematic continuity.
            The only thing I take issue with on this album is the lyrical content.  Many of the lines, such as “Promise that one day / All of you are going down” and “Bottoms up, let’s drown my sorrow,” struck me as unimaginative.  I felt that Children of Bodom offered nothing new lyrically, providing the same angst ridden laments you can find on their previous albums.  That said, the vibrant and technically proficient instrumentals made this a non-issue; I wasn’t paying attention to the lyrics anyway.  Overall, a strong album.


Score: 8/10

Monday, June 17, 2013

Album Review: Old Mornings Dawn (Summoning)


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The Austrian epic black metal duo, Summoning, recently released their first full-length effort since 2006 with Old Mornings Dawn (Napalm Records).  The wait was certainly worth it.  I never would have guessed that a band could devote so many tracks to the mythos of Middle Earth, but seven albums deep in their sonic tribute to Tolkien, Protector and Silenius show no signs of stopping.  And while Old Mornings Dawn may not achieve the revered status of Minas Morgul (1995) or Dol Guldur (1996), one can hardly say that the quality has dropped since the mid ‘90s.  As soon as the intro track, “Evernight,” begins, whispers from an enchanted realm whisk the listener away to a land of pure fantasy.  The steady, building instrumentals that ensue solidify this musical escape.  Unlike intro pieces that seem only to serve as filler (here’s looking at you Cradle of Filth), “Evernight” sets the stage for the album’s soundscapes, dragging the listener into an epic journey.  Not even the most reluctant Bilbo Baggins could resist!
            Now, let’s get into the meat of the recording.  After the first two tracks, not a single song runs under 8 minutes in length.  This provides space for dynamic movements within each song that enhance the epic quality of the album.  That said, all tracks stay below the 10-minute mark, ensuring that the songs don’t become stale and bore the listener.  The true strength of these tracks and the album as a whole is the pacing.  The percussion conveys a Celtic flair, spiriting the listener to distant times.  The rhythms and melodies possess a medieval tone that bestows an aura of chivalric high adventure.  Keeping the album on course, distorted guitar rhythms carry and propel the pace of this fantastic journey.  When listening to Old Mornings Dawn, you don’t simply bob your head to the heavy riffage; you undulate your entire body as if riding a steed into glorious battle.  In addition, Summoning displays a great instinct for transition.  Heavy rhythmic progressions flow naturally into haunting melodic interludes, and complex tapestries of instrumentation seamlessly unravel to emphasize singular elements.
            Overall, the album is majestic in the truest sense of the word.  Plucked melodies and rolling synthetic soundscapes combine to forge an atmosphere of grim austerity.  The vocals are strong as well.  Drenched in reverb, they evoke dusky caverns of longing, employing a deft compromise between a shriek and a growl.  Also, spoken word vocals enhance the narrative quality of the recording.  Highlights include the titular track, with the somber nobility of its synthetic organs, and “Caradhras,” with the layered ascent of its introductory passage.  The album does lose steam with the last three tracks, but this is likely due to the high quality of the first slew of songs more than to overt shortcomings in the concluding pieces.  Nevertheless, it would have been nice to see the same level of epic grandeur maintained.  I honestly don’t have many criticisms for this album, but I’ll offer a few cautions.  This is metal of the slower variety and may not be appealing to fans of rapid-fire beats.  Also, the sound is highly synthetic and likely won’t please those who prefer to listen to ‘real’ instruments.  Finally, Summoning crafts a fantasy atmosphere, and thus their style may not interest those who like their content grounded in reality.


Score: 8/10