Black metal – Page 157 – Wonderbox Metal

Cara Neir/Venowl – Split

Cara Neir and Venowl are both from the US and they’ve teamed up for this tasty split. Cara Neir play Black Metal with a Crust/Punk influence, whilst Venowl are the embodiment of dirty Doom evil.

Cara Neir are up first with three tracks lasting just under 12 minutes. Theirs is a direct assault that strips the flesh from bone and mutilates with extreme savagery.

Brutal riffs and Blackened melodies are powered by a Crusty assault that leaves the listener battered.

Sharp vocals eat away like acid as the singer attempts to claw his way through your ears and into the meaty goodness within.

They’re no one-trick pony however, as Cara Neir have shown throughout their prolific back catalogue. Even here on their short contribution to this split they show a good amount of variety.

Aeonian Temple is anger personified, Nights… is Shoegaze/Post-Metal in the style of Sun Devoured Earth and Pitiful Human Bindings, which is also the longest song, comes off like lo-fi Black Metal with a corrupted aura and a rabid bite.

Venowl have not long released their début album Patterns of Failure and with that success in mind we turn to them. They contribute only one track to this split. It’s called Scour (Parts I and II), it’s almost 22 minutes long and it is an ode to gradually inflicted and long, drawn-out pain. At least, that’s what it sounds like to me.

Venowl play slow. Except when they play even slower. It’s filthy, unhealthy, dangerous and barbed. It’s everything you love about unhinged, caustic Doom.

The track largely defies description except to possibly detail the descending layers of Hell and the accumulated millennia of torment and suffering that has accreted there.

Here we have two very different bands that manage to complement each other perfectly. I think you should do yourself a favour and get hold of this split. Darkness and misery never sounded so underground or so good.

Dust Sculptures – Far Above The Pines (Review)

Dust Sculptures is a US Post-Black Metal band consisting of one person – this is his second release.

An album like this would be a very impressive achievement even if it was the product of a full band, never mind that this is all from one person. The musicianship and songwriting is first rate.

This is a blend of Black Metal, Shoegaze, Progressive Rock and Post-Rock; the various elements are skilfully combined into this release so that you never quite know what exactly you’re going to get next, yet it all gels together and flows seamlessly from one part to the next, from one song to the next.

All of the genre/sub-genre tags above essentially let you know that this is an album that takes a Black Metal base and builds it into something more. The songs have real depth and lasting power. There is a lot of music to explore here and that feels like the essence of the album to me; an exploration through an unknown wilderness.

Soft, crooning clean vocals share space with tortured screams and Blackened agonies. Like the instruments the vocals are perfectly judged and performed flawlessly.

Shades of modern-day Anathema can be heard alongside Blackened parts. Post-Metal highs and Shoegaze wanderings rub shoulders with blast beats and dark melodies. Progressive keyboards and chaotic riffs work together to build sound structures greater than the sum of their parts.

It’s clear that a lot of care, love and attention has gone into the making of this album. Every last part of it has had a lavish amount of focus placed on it and this has resulted in an album that’s a true revelation.

This is for fans of expressive giants like Deafheaven, Enslaved, Wolves in the Throne Room, et al.

Albums like this don’t come along very often and when they do they spirit you away on a very special journey. Let Dust Sculptures be your guide.

This is one for the album of the year pile, methinks.

Get this.

Hegemone – Luminosity (Review)

Hegemone are from Poland and play Post-Black Metal. This is their début album.

With an album cover that promises mystery and rich rewards to those who reveal the music within, this is an album that doesn’t give up its secrets lightly. Even when they’re being overt there are hidden delights to be had here.

Luminosity is a sprawling album stretched across 6 tracks of dark Post-Black Metal with a good amount of Sludge thrown in for good effect.

The guitars sound like they’re coated in tar and the melodies are Blackened and deep. It’s a surprisingly heavy affair and the Sludge influence to their sound allows the band to get away with all sorts of mischief under its banner.

The vocals barks forth brutal noises over music that can be either harsh or beautiful depending on the mood of the band. The music itself may be capable of subtlety and nuance but his is a commanding presence that demands attention and floors all in front of him.

At times recalling second-wave Black Metal, at others recalling the darker side of Post-Metal in a Cult of Luna style; this is a heavier and Sludgier proposition than a lot of Post-Black Metal out there. Yes, they are perfectly capable of creating atmospheric and awe-inspiring musical soundscapes, (and they do), but they also like to make sure that the good old Darkthrone/Satyricon groove is felt to full effect when needed.

There are moments of unbridled creativity and flair displayed on these songs as well. Unexpected delights include appearances by a saxophone that don’t sound incongruous and rivals anything artists like Ihsahn have used.

This is a very accomplished, ambitious and rewarding listen. Hegemony have put together something special that they should be proud of.

This is a cold-hearted gem that’s just waiting to be discovered.

Weltschmerz – Odium Humani Generis (Review)

Weltschmerz are from the Netherlands and this is their début album. They play Black Metal.

Weltschmerz play harsh, angry Black Metal that’s fuelled by bile and rage. Blasting chaos and rhythmic pulsing darkness assault the senses as the band do their utmost to deafen and corrupt.

The band are not without nuance though; they also know how to pen riffs that cater to the depressive and the more subtle and considered. For the most part though they’re decidedly unmoved by anything remotely weak and their style reflects this.

Odium Humani Generis harkens back to the 90’s and their Black Metal makes me feel nostalgic for the past and pride in the present at the same time. This style should never be allowed to die and Weltschmerz carry on the tradition with fortitude and bluster.

The distortion and blast beats, the Blackened melodies and venomous vocals; this is real Black Metal.

The recording is typical of the era and is authentic and as welcoming as a blizzard. It suits the album down to the ground and provides a firm basis for the band to carve out their Blackened home.

Weltschmerz have crafted a thoroughly enjoyable Black Metal album. Give them a listen.

Tarnkappe – Tussen Hun En De Zon (Review)

Tarnkappe are from the Netherlands and this is their début album.

As soon as it starts it makes an impression. The band have the classic-era Darkthrone/Burzum feel in spades and I can’t help but get a bit excited. It may be an old style but it’s a very welcome and enjoyable one.

Their cold-hearted Black Metal has a great sound that’s raw and organic whilst retaining a clarity and strength about it. Quite simply they sound fantastic.

The vocals are evil croaks that are genre-perfect and adequately portray the evil and disgust that’s spewed out. They also sound suitably demoniacally demented on occasion. It’s a flawless Old-School delivery that fits the music perfectly and the entire package is authentic and historically accurate.

Tarnkappe are their own masters though and are not simply Darkthrone clones. This is an album which has a darkness all of its own and the songs fill me with a deeply personal satisfaction in that special grim way that only Black Metal can.

Listening to this album is a real joy. The Blackened melodies and mid-paced icy rhythms have infected the pleasure centres of my brain and won’t stop.

It’s not new, it’s not perfect but it’s Old-School Black Metal through and through. If you still enjoy this style then you’ll enjoy Tarnkappe.

The Stone – Nekroza (Review)

The Stone are a Serbian Black Metal band and this is their seventh album.

These veterans have been around for almost 20 years so they have their quality levels tweaked to go as high as they can.

Nekroza consists of 56 minutes of scything Black Metal that the band have crafted from midnight and misanthropy. Each song seems chiselled from solidified hatred and finished with a glossy coating of sleekness.

The album boasts a strong sound and all instruments are played clearly with even the bass having a presence. The band sound sharp and ready to kill.

The Stone attack the songs with the fervour of the devout and each hymn represents the band in good form.

The tracks are fast and furious but never stagnant or stale sounding. They have a Swedish influence to their Black Metal but this is offset by everything else the bring to the table.

Colourful melodies prevent the album from becoming one dimensional but never blunt the band’s bite or dull the attack. The band understand the art of songwriting and use their skilled use of dynamics to craft Melodic Black Metal songs that fill me with both nostalgia for what was, pride in what is and hope for what might once be again.

The Stone are a talented band and should be sought out by all Black Metal devotees.

Ancst – In Turmoil (Review)

Ancst are from Germany and this is a compilation of their earlier work between 2012 and 2014.

The band play a combination of Black Metal and Crust that’s endearing and violent without sacrificing emotional depth.

As a collection of tracks In Turmoil is remarkably consistent with sound and style, although the first two songs are easily the longest and after this their output becomes shorter in length and more condensed.

The music is emotive and heavy, with moments of bleak beauty and violent Hardcore clashing in ways reminiscent of bands such as Hexis, Fleshborn and Protestant who share a similar stylistic space of Blackened Hardcore/Crust.

Intense shouting and blasting drums are the order of the day. Blackened riffs and menacing guitars lay a foundation of darkened melodies over which the drums blaze and the singer roars his diatribes.

It’s not all blasting and hyper-violence however, as not only do the band understand dynamics and the importance of taking the foot off the accelerator now and again, but they even have a few forays into softer territory in between the blast beats.

This is a worthy addition to the ever expanding sub-genre of Blackened Hardcore/Crust. Colour me impressed.

Wömit Angel – Holy Goatse (Review)

Wömit Angel are from Finland and this is their second album of Black Metal.

This is dirty Black Metal fuelled by Punk and raped by Thrash.

The band boast a raw but strong sound and their filthy rage-filled attack comes off loud and clear.

Vocally we get stinging, lacerated shrieks with the occasional deeper, daemonic grunt. They sound authentic and intense.

The songs are short bouts of violence that may be underground blasts of hatred but manage to be remarkably catchy. Some nice hooks are included in the tracks and odd flares of melody are thrown in with the general chaos of the guitars.

It’s as if Impaled Nazarene, Motörhead and Venom have been crushed up, eaten and regurgitated as gooey Black Metal projectile vomit. Eat it. Eat it all back up.

Wömit Angel have produced an enjoyably venomous assault on the ears. Check them out.

Onheil – Storm is Coming (Review)

Onheil are from the Netherlands and this is their second album.

Storm is Coming has a strong production with everything sounding crushing and the band easily wreak devastation like a natural disaster, which is partially what the concept of the album is based upon.

Onheil play Black Metal that’s fast and sharp but also surprisingly heavy as they have a bit of a Blackened Thrash/Heavy Metal influence to their sound.

The band I’m reminded of most is Hypocrisy as Onheil have a similar feel to both their style and sound – if you take Hypocrisy circa Into the Abyss and give it a bit more of a Black Metal sheen then you’ll have the right idea.

They’re certainly not Hypocrisy rip-off’s though, as I’m also reminded of bands like Amon Amarth and, (to a lesser extent), Dimmu Borgir, Kreator and Iron Maiden in places.

The vocalist is very accomplished and sounds great whether he’s screaming or growling. Powerful cleans are also used sparingly to add effect and provide good back up to the main shrieks.

The Blackened melodies are played fast and hard, with riffs and leads being in no short supply. Storm is Coming also features an enjoyably Heavy Metal aspect to their sound, mainly in the guitar department. Duelling guitars are prominent and many leads could be straight out of the Classic Heavy Metal rulebook.

This is a band who can play Melodic Black Metal without it sounding jolly or hopeful; this is dark music with an evil tinge to it that all centres around the band’s direct and cutting method of assault.

Overall this is an enjoyable and absorbing listen with good songs and melodies that capture the attention. Check them out and see what you think.

Falls of Rauros – Believe in No Coming Shore (Review)

Falls of Rauros are from the US and play Black Metal with strong Folk elements. This is their third album.

This band specialise in Black/Folk Metal that takes its time to build a slowly developing picture that the band loving craft from the instruments to give the listener a true feeling of the beauty of nature.

Falls of Rauros have a vibrant sound that recalls elements of Shoegaze and Post-Black Metal mixed with more traditional Black Metal and Folk Metal influences to create a collection of songs that have depth and interest.

Somewhat fragile, gentle riffing accompanies faster drumming and passionately harsh screaming. Their expansive sound shows off the full capabilities of all of the instruments and it’s good to hear the oft-neglected bass being quite audible.

The songs twist and curl their way around the central exploratory Black Metal sound and the tracks boast a longevity about them that’s refreshing to hear.

This is a heavily atmospheric album that evokes its feelings from the core instruments rather than from ostentatious keyboards or orchestras. The band keep it simple yet have everything they need to produce involving and engaging music.

This is a quality album. Have a listen and let the music enter your internal landscape.