Black metal – Page 152 – Wonderbox Metal

Sacrilegious Impalement – First Three Nails (Review)

Sacrilegious Impalement are a Black Metal band from Finland.

This latest album collects together their three first releases – their début demo and two early EPs; Sacrilegious Impalement and World in Ashes.

The fact that their main songwriter is named Impaler Von Bastard means you know, or at least hope, this is gonna be class.

And it is.

With that in mind, this is raw and blasphemous Black Metal that takes the base skeleton of the genre and runs with it, faithfully recreating the core of the pure Black Metal style.

It’s a relentless assault that’s cold and frosted to the touch. This is Black Metal that lacks subtlety, mercy or any redeeming virtues. These songs drip with grimness and bile, as is their birthright. It exists to be pure fucking Black Metal and that is all.

The production is decent despite the raw nature of the music, and everything is audible and where it needs to be. It’s not an overly polished sound though, and the requisite underground feel is intact.

Even though this release features three releases a few years apart it still sounds coherent and consistent throughout, despite the slight variations in recording and writing.

For a fix of true Black Metal played proficiency and verve, Sacrilegious Impalement hit the spot.

Alastor Sanguinary Embryo – For Satan and the Ruin of the Divine (Review)

Alastor Sanguinary Embryo are a Black Metal band from Costa Rica. This is their third album.

This is Melodic/Symphonic Black Metal, but not necessarily in the way you might be thinking. A lot of the time these days Symphonic Black Metal is polished, ostentatious and overblown; this is more Old-School Symphonic Black Metal, if there is such a thing. We’re back in the ancient old days of early Emperor, Dimmu Borgir, Cradle of Filth, et al for this one.

The keyboards are subtle affairs, (relatively), working to add flavour to the Blackened assault rather than trying to be overly-prominent or ruling the roost, so to speak. For this kind of Black Metal this is the preferred state of things and Alastor Sanguinary Embryo never lose their dark bite because of it.

There are a variety of moods, speeds and feelings on this release, but I find that I enjoy it the most when the band are in full-on blast beat mode, with everything fast, screeching and trying to outdo everything else.

The scathing vocals, sharp guitars and understated atmospheric keyboards provide a lot of Blackened entertainment throughout this 58 minutes and I like that the blast beats are never too far away from proceedings. Also – you can actually hear the bass, which is always a plus point. But, and get this – BASS SOLO! Fuck yeah!

Ahem.

Although some of the writing could do with tightening up on occasion, this is ultimately a really good exemplar of how Symphonic Black Metal should sound if you want a good taste of what the style was originally about, rather than what it’s largely become today.

A refreshing blast from the past; it’s hard to not enjoy this release as there’s such palpable enthusiasm and passion on display here. The songs are just really enjoyable, especially if you were brought up on this kind of thing.

Check them out.

Todesstoss – Hirngemeer (Review)

This is the seventh album from German Black Metal band Todesstoss.

At 75 minutes in length this is a long album that only contains 3 tracks. I mention this purely to set the scene for the kind of sprawling, unconventional, Blackened vision that Todesstoss have.

This is Experimental Black Metal that takes the serrated core of Black Metal and adds Electronica, Ambient, Martial, Dark Rock, Avant-Garde and Depressive tendencies to it, creating songs that are unhinged marvels of deranged darkness.

Various instruments and flashes of sound compliment the core instrumentation and the mangled, psychotic vocals punctuate the music like stab wounds. His violent outbursts are quite disturbed and fit the uncompromising music.

Think bands like Bethlehem/Burzum/Deinonychus/Dødheimsgard, only stretched out to the extreme.

There are a lot of themes and moods spread across these tracks and it’s clear that a lot of work and effort has gone into perfecting the meaning and rationale for the existence of every part of this music. To some listeners it may seem as if occasional bits of noise or instruments are randomly inserted here and there, but I suspect that everything is where it is for a reason.

These certainly aren’t songs in the traditional sense, but rather canvasses of sound that are used for exploratory experimentalism by their creators to give voice to what dwells inside them. It’s a fascinating insight into a warped psyche as portrayed via the medium of mutated, corrupted Black Metal.

This is not an album you enjoy in the traditional sense. It’s an album you survive, and then, suffering from Stockholm Syndrome, you develop an affinity for the abuse it puts you through and eventually go back to it time and time again for more punishment.

Let your re-education begin.

Fluisteraars – Luwte (Review)

Fluisteraars are a Black Metal band from the Netherlands and this is their second album.

Fluisteraars forge their windswept Black Metal from a core of the harsh, razor-sharp second-wave sound and build on this with expansive and emotive qualities to produce the Atmospheric Black Metal that we have on Luwte.

As noted above; their approach to lengthy Atmospheric Black Metal is a sharper and more dangerous proposition than most. Luwte shares more in common with the darker, more epic side of Burzum and Darkthrone than it does with Atmospheric Black Metal bands that incorporate Progressive and Post-Black Metal sounds into their music.

Icy, Blackened riffs tear out from the music like a blizzard, but this harshness is restrained by more melodic passages. These sections still have an affinity with the biting frost, but it’s a more insidious, creeping cold, and all the more deadly for it.

The music has a tendency to blow like a storm, interrupted by moments of calmer beauty that are still dark and foreboding, warning of what’s to come. The songs are punctuated violently by howling screams, although these are relatively few and far between, with the music remaining the focal point of the band.

Fluisteraars have created a deeply engaging album with Luwte. Rather than relying on keyboards, additional instruments or elements of different sub-genres, it’s nice to see Atmospheric Black Metal that takes its cues from the original, raw, frozen style.

Highly recommended.

Serpentine Creation – The Fiery Winds of Armageddon (Review)

Serpentine Creation are a Bulgarian Black Metal band. This is their second album.

This is some good old-fashion Satanic Black Metal with lots of darkness and some Classical overtones in their choice of malevolent riffs.

It’s multi-paced, razor-sharp and infused with a Blackened melodicism that cuts like a knife. They also incorporate a few non-orthodox riffs and ideas into the mix, which gives them an added dimension of interest. Serpentine Creation are firmly rooted in the Old-School but are looking towards the future at the same time.

The Fiery Winds of Armageddon is a solid album of Black Metal that features decent songs and surprisingly catchy melodies and hooks. This is one of those bands that I’d hesitate to call Melodic Black Metal; it’s more that they play Black Metal that features melody. As I’ve said before, it’s a subtle distinction but a distinction nonetheless. Although, having said that, this is closer to Melodic Black Metal than some of the other bands I’ve said that about, so I guess it’s all subjective really.

The album boasts a solid sound and everything is clear and crisp without being overly so and ruining the Blackened mood.

Screamed vocals are the main order of business, although the singer is not above varying this on occasion. He does his job well and screams out his invective with ease.

The guitars as a real highlight of this release, partly for the melodies, partly for the Blackened auras they create and partly because of the riffs themselves. Serpentine Creation really seem to be on point here with their writing and I love how they can change from fast, serrated riffs to chunkier, spikier riffs in short spaces of time.

Leads and solos are common and well performed. They add spice to an already tasty meal and it all adds up to an album of really pleasurable Black Metal. Sure, there’s nothing particularly innovative or new here, but who cares? The amount of bands that play innovative or new types of music is vanishingly small compared with what’s out there, and I for one have thoroughly enjoyed The Fiery Winds of Armageddon.

Check them out for yourself and see if you can feel the heat from their apocalyptic winds.

Ancient Moon – Vvulture (Review)

Ancient Moon are an international Black Metal band and this is their début album.

This release contains a single track, Preastigitum Altareas, lasting just under 29 minutes in length.

This is raw, underground Atmospheric/Ambient Black Metal with a fuzzy guitar sound and a deep malevolent aura to it.

Ancient Moon’s Black Metal combines a strong Ambient/Drone influence, resulting in their music being comprised of several levels; layers and layers of darkness and filth are merged together to create a soundtrack of horror and ritualistic nightmare.

The music is hugely atmospheric and speaks of a rolling storm, gathering on the horizon and slowly, inevitably drawing closer, bringing ruin and devastation to all that it touches. This churning maelstrom is dense, impenetrable and evil to the core.

Like any storm, there are moments of calm throughout; Ambient respite amidst the Blackened winds. These are lonely, desolate places though. They act as breathers before the crushing suffocation of the music’s sheer weight is bought to the fore once more.

The singer does a great job of adding further atmosphere and presence to the sound by his assortment of deep cleans, semi-cleans, growls and screams. At times, combined with the music, he sounds downright scary. On occasion his vocals are like chants, at other times they are invocations, at other times they’re announcements; like a dark herald proclaiming the end times, it’s a message to heed and be fearful of. He really does have an excellent voice and his performance is top-of-the-line. Sometimes vicious, sometimes majestic, always intimidating.

The same of which can be said of the music too. In fact, this is less like music and more like an impending unnatural disaster that has been pulled up from Hell and unleashed upon a helpless world to make it die.

Vvulture does its job extremely well and if you like harrowing Black Metal with lots of atmosphere and swirling blackness then Vvulture is definitely for you.

Extremely highly recommended.

Bloodlust – Cultus Diaboli (Review)

Bloodlust are an Australian Black Metal band and this is their début album.

This is Black Metal that’s infused with a good helping of dirty Thrash Metal to produce ugly Black Thrash that has a very Old-School vibe.

Featuring a sharper, Blackened approach to the early Hellhammer, Venom, Celtic Frost, etc. sound, this is Satanic Black Metal based on these genre founders and with an added Thrash influence, (think early Kreator).

Spiky riffs and acidic screams are used to good effect and the band keep the spirit of proper songs alive in their delivery. Solos are also included in this rusty Metal warrior’s arsenal, and these are always good to hear.

The songs blast and pound with an excitable and ancient energy. There are a lot of bands playing Black Thrash these days but it’s still an enjoyable proposition when done well.

Give this a listen.

Wolfbastard – Wolfbastard (Review)

Wolfbastard are from the UK and play Black Metal/Hardcore. This is their début album.

Like a cross between Darkthrone and Discharge, Wolfbastard play Crust-infused Black Metal that’s as ugly a version of Blackened Hardcore as you’re going to get. D-beat fury and icy rage combine to fuel these songs with an unearthly layer of unhealthy grime.

Harsh screaming vocals are your guide as you traverse the difficult terrain ahead of you. Pounding drums and savage guitars are your constant companions on this unfriendly path.

The songs are short, unmerciless and barbaric. Like a primitive template of how to merge two already atavistic styles, Wolfbastard’s début excels at showing how enjoyable Blackened Hardcore can be. These songs are imbued with an Old-School fury; Hardcore energy and Black Metal hate, combined in just the right amount.

The music is surprisingly catchy in many ways. The songs may not last long, but while they’re around the band make sure the playing time is filled with good riffs and memorable vocal patterns, with many a chorus being quite singable. Well, assuming you want to run around shredding your throat raw by shouting things like Nuns for the Slaughter, Summoning the Antichrist or Wolfbastard. Which maybe you do, who knows? If that’s the case, have at it old bean!

At any rate, this is a release that once again shows how fertile and diverse the UK Metal scene is. Wolfbastard are a worthy addition to the UK’s growing roster of quality bands, and this album is both strong and enjoyable.

Highly recommended.

Skvara – Carpathian Pagan Terror (Review)

Skvara are a Ukrainian Black Metal band and this is their second release.

This is underground Black Metal with a raw, fuzzy sound. It’s dark and cold, just as we like it.

The guitars seem to slither out of the dark murk of the songs like snakes sliding through water. The frozen, Blackened melodies do well to create both atmosphere and aggression, while the bass is actually audible and makes a good contribution.

Seething, screeching vocals lash across the back of the music like a vinegar-dipped whip, with every scream a torrent of pain and outrage.

Throughout these 34 minutes Skvara show that they have a deep love for the Black Metal Old-School elite. Importantly, however, they also show they have ambition and talent for the music, as the songwriting on Carpathian Pagan Terror is already quite proficient for such a young band.

Good riffs, melodies and ideas are included and for the most part these songs are very well-composed and performed. Skvara pretty much have all of the necessary components for an enjoyable Black Metal release. If they manage to tighten up their songwriting in a couple of places then they will very quickly become a force to be reckoned with, as this release clearly shows they have a massive amount of promise and potential already.

Highly recommended.

Opus Inferii – Ancient Mysteries Unveiled (Review)

Opus Inferii are a Brazilian Black Metal band and this is a re-release of their 2012 début album.

Here we have 48 minutes of Occult Black Metal. It’s raw, infused with darkness and cold to the touch.

Ancient Mysteries Unveiled has a solid sound that’s underground enough to suit the music but strong enough to not do the band any disservices.

This has the air of 90s-era Second Wave Black Metal and there’s a Swedish Melodic Black Metal influence at play here too, alongside a Norwegian one as well. Kind of like Dimmu Borgir stripped of orchestration and merged with Dissection, as well as a hint of mid-period Immortal here and there. This allows the band to not be constrained by just a single style. There are quite a few nice touches and ideas on this release, including moments of introspection, atmosphere and grandeur alongside the ritualistic violence.

The songs contain both blast beats and mid-paced sections, with a good balance between rhythm and dark melodics. The riffs are bleakly emotive but also know when to get heavier and meatier as required.

The singer’s Blackened rasp is one that does the genre proud. There are no issues with his performance at all.

This is such a classic style and it’s always a joy to hear Black Metal that’s played with such conviction and with talent. Add to this an infectious sound that allows the band to show off their wares without impediment and you have a recipe for success.

I really enjoyed this. A great combination of older Black Metal styles wrapped in darkness and shrouded in mist. Opus Imferii have impressed.