Atmospheric Black Metal – Page 56

Myrkur – M (Review)

This is the début album from this Danish solo Black Metal project, although on this release she is joined by other musicians too.

This is second-wave Black Metal with supplemental ethereal flourishes. Angelic clean vocals and harsh, daemonic screams play out across music that’s as frozen as it is beautiful. Think bands like Burzum and Vinterriket, only with added atmospheric instrumentation and stunning female cleans.

And stunning is the right word, as the brains behind this outfit has an amazing voice. Sounding transcendentally beautiful and uplifting, her voice is an incredible tool that gets used just right. The screaming doesn’t let the side down either; this is the kind of scratchy, static-like high-pitched shrieking that works so well in Atmospheric Black Metal.

If the music was straightforward Black Metal I think that it might be put to shame by her voice. However, in reality the Black Metal core is added to by so many other instruments and elements that the beauty of the clean vocals and the icy nature of the guitars don’t reveal too much contrast as there’s a lot of other music going on to bring the two closer together; in addition to the standard Black Metal instruments we also get piano, violin, horn, tuba and other traditional Scandinavian instruments used on the tracks.

The main juxtaposition comes when the angelic cleans aren’t being used; here we get malevolent Black Metal with frosted fury and malignant intentions. These sections segue nicely into the more atmospheric/Folkier parts though, so there’s no massive disconnect, only a compelling and involving soundscape that contrasts the beauty of a frosty landscape with the dangers inherent in such a scene.

M doesn’t contain songs in a traditional sense; the tracks are movements designed to showcase an emotive musical tapestry that takes the best from second-wave Black Metal and adds extra layers to it via clean singing and bright atmospherics.

There’s not really anyone playing this kind of Black Metal at the moment, certainly not with this level of proficiency at any rate. It’s definitely a less-travelled path that Myrkur is treading and it’s going to be pretty exciting to see where it leads in the future. My hope is that the songs become lengthier and even more epic in scope, as my only real complaint about M is that it is over far too quickly.

But I digress. For the moment let’s ignore what the future holds and concentrate on what we have; authentic Black Metal with an individual and highly emotive take on the source material. M is a success in every way, and after the tantalising glimpse into her world that was her début EP, we have not been disappointed by the promises it contained.

This is a class album; doing something a little different with Black Metal while still retaining the core of the style has worked wonders.

This album will garner all kinds of praise from all kinds of people. Trust me, it’s worth it.

Grieving Mirth – Calamitosvs Omine (Review)

Grieving Mirth are an Atmospheric Black Metal band with a multinational lineup. This is their début EP.

This is Black Metal that has speed and melody, neither of which are the main focus for the band though; this comes, instead, from the creation of dark atmospheres.

Even given that though, there is still bite here and the band manage to inject a certain savagery into the proceedings, even given the non-aggressive emphasis of the main themes.

It’s this inclusion of faster and harsher influences into the Atmospheric Black Metal style that marks Calamitovs Omine as separate from similar releases in the sub-genre as it combines these dark moods and atmospheres with an aggressive core that does its Blackened heritage justice.

The vocals have an innate power to them and there’s strength in these vocalisations that flows into the music and vice versa, working together to provide a foundation of muscle onto which the softer, traditionally more brittle, fragile elements of Atmospheric Black Metal are woven.

The songs take the listener into grim, foreboding places and illuminates them with a light that has real presence and force. Also included are a few nods towards Post-Black Metal, and even some clean vocals; both elements are skilfully incorporated into the whole.

This is a charismatic and impressive first release from a clearly talented band. Check them out and give them a listen.

In Cauda Venenum – In Cauda Venenum (Review)

In Cauda Venenum are a Post-Black Metal band from France and this is their début album.

Consisting of only two tracks, each lasting a touch over 21 minutes in length, this is an ambitious release that makes good use of the longer playing times to explore darkened themes and Blackened music.

Post-Black Metal is such a rich sub-genre that has so many opportunities to impress, and In Cauda Venenum take advantage of all of these.

The band play harrowing Black Metal that’s epic in scope and spiced up with enough Post-Rock/Metal elements to claim the Post-Black Metal tag as its own.

The music is masterly crafted and very atmospheric. Blackened riffs and blasting drums meet introspective restraint and Progressive explorations.

Both songs are very well written and it’s clear that a lot of time and effort has gone into their composition. Dynamics, pacing and mood have all been carefully considered and the end result is 42 minutes of elite Post-Black Metal that in many ways skirts the best that both genres have to offer.

The vocals are of the ultra-high, almost-static variety that work so well with Atmospheric Black Metal.

The recording is a quality one with the guitars in particular having a good tone. A clear, powerful sound gives the drums plenty of strength and as a whole the production strikes the right balance between underground ice and polished darkness.

As I say; in addition to the vocals and drums though, I do particularly enjoy the guitars on this album. They have the requisite Blackened bite and melodics in spades but they also benefit from being heavier than the norm for the style and employing some choice riffs throughout the songs.

A hugely impressive release. In Cauda Venenum have produced two remarkable songs of high Blackened art.

Top work.

Heathen – Heathen (Review)

Heathen is a one-man Black Metal band from Norway and this is his second album.

This is Atmospheric Black Metal played with an Old-School flavour and swamped in darkness.

Here we have 53 minutes of music that is authentic Norwegian Black Metal; recognisable enough to be instantly appealing and enticing enough to hold attention.

This is in the lo-fi style and sonically everything just fits perfectly. This is the kind of sound that Black Metal was born to.

Musically the brain behind the outfit is extremely talented and these compositions are very advanced. A lot of bands either concentrate on riffs or atmospheres but on this release we get a decent amount of both.

Quality riffs lay a bedrock on which the moods evolve and dark atmospherics unfold slowly and malevolently.

The pace picks up as well so as to provide variety but even here the aim of the increased speed is to also increase the impact of the feelings that are evoked.

The vocals are high pitched static screeches that are barely audible above the guitars. In effect they act as another layer to the music and it’s like someone is trying to scratch your eyeballs out with sound.

What can you say about an album like this? It needs to be experienced. This is the kind of Black Metal that keeps you in love with the genre.

An absolute must.

Ahamkara – The Embers of the Stars (Review)

Ahamkara are from the UK and play Atmospheric Black Metal. This is their début album.

This is Black Metal with epic length songs and a windswept feel.

This is the kind of album that’s the soundtrack to exploration. It’s the Blackened equivalent of a map of uncharted territories and frost-worn mountains.

The Embers of the Stars is bitingly cold and achingly sensual in equal amounts. These songs are emotive and expressive, infused with the raw energy of nature and the passion that goes along with this.

Heartfelt guitars and subtle synths provide the rasping vocals with a rich background on which to scream out into the heavens.

This sweeping music is perfect for Black Metal that’s inspired by nature and seeks to channel it via a darkened Metal route. Each of these songs is extremely well composed and gives the feeling of really being in the raw, dangerous outdoors.

This is the kind of epic, atmospheric music that has been characterised well by the Cascadian scene, even though this is from the UK. Fans of Wolves in the Throne Room, Altar of Plagues, Agalloch, Fen, Skagos, Fauna, Wodensthrone, (who share a member), etc., will be very at home with Ahamkara. However, whereas a lot of these bands have Post-Metal qualities to their sound, Ahamkara substitute these for shades of the mighty Emperor and thus are more “pure” Black Metal than not.

Really top quality work like this should always be supported. Listen and become enthralled.

Wayfarer – Children of the Iron Age (Review)

Wayfarer are from the US and this is their début album. They play Atmospheric Black Metal/Post-Black Metal.

For fans of Enslaved, Cobalt, Wolves in the Throne Room, Altar of Plagues, Entropia and the like – Wayfarer are a band to add to the list of top quality, interesting Black Metal.

As soon as the record starts we’re treated to this quality; immediately we get emotive Black Metal with a Post-Metal-wall-of-guitars-style riff and sharp screams that can cut through steel.

The riffs and guitars are an instant hit with me; emotive and textured whilst still staying true to the Quintessential essence of Black Metal.

They certainly have a good Post-Black Metal element to their sound though as it’s not all darkness and icy guitars. Light and shade is used extensively; the songs contain rich textures and encompass a multitude of feelings.

There’s enough aggression here to satisfy fans who want a straightforward fix of the good stuff, but Wayfarer also include enough nuance and subtlety to draw the listener back into the fold and keep them engaged. This is music with depth and capability. They have a desire to rule, to rise above the mediocre and they don’t lack the ability to do so.

This album is full of wide, expansive music that seems to fill the horizon with its ambitions.

Children of the Iron Age is a stunning début. A definite one to get your hands on.

Haate/Chiral – Where Mountains Pierce The Nightsky – Split

This is a split between Haate, who are from Italy and play Dark Ambient, and Chiral, also from Italy and playing Black Metal. Both are solo projects.

Haate’s contribution is made up of 3 tracks, 2 of which we’ve heard before on As The Moon Painted Her Grief. The remaining track, (the first one on this split), is new, or new to me at least.

Everything stated in the review of As The Moon Painted Her Grief about Haate is still true here, and the additional track follows the same theme.

Dark atmospheres and much expanded proto-Classical 90’s Black Metal interludes/intros are the order of business, and judging by this business is booming.

Only one of these three tracks may be new, but it’s a joy to hear all of them regardless. And if you’ve never heard Haate at all, then do yourself a favour and have a good listen now.

Chiral are a relatively new band and I’ve really enjoyed following the development of this artist from first demo Winter Eternal to début EP Abisso. For such a very talented and promising band I was excited to hear Chiral’s contribution to this split, especially as it’s a whopper of a track at 20 minutes in length.

Synths start us off before guitars, blasting drums and screaming daemons join the party. The brain behind Chiral, once more, has outdone himself.

This is quality Atmospheric Black Metal, frozen to the touch and icy to the core. It’s a highly emotive and engaging work with variation and good pacing.

The song – Everblack Fields of Nightside – seems to draw you into its dark embrace and keep you there. The Blackened melodies are enhanced by keyboard backing in a way that seems to be both subtle and overt, which is quite an achievement.

The general sound is extremely satisfying, with everything having the right level in the mix and the drums in particular sound well-rounded and surprisingly warm for such a frigid release.

Chiral keep getting better, there’s no other way to say it.

Top split, check it out.

Bhleg – Draumr Ást (Review)

Bhleg are from Sweden and this is their début album of Atmospheric Black Metal.

This is underground and under-produced with the result that the music has a brittle quality to it that still somehow retains a strength – like shards of ice. The fragile guitar tone still manages to inflict lacerations with how sharp it is as the scything vocals scream out from behind this torrent of frostblades.

Theirs is a blend of the atmospheric and Blackly melodic. To cold for the more perky Melodic Black Metal tag, instead they go the path less travelled down a cold winter path, lonesome and desolate. Many others have gone this way over the years, of course, but Bhleg are content to not mix with any other travellers and instead keep to themselves, exploring the snowy landscapes.

Okay, okay; enough of the ice and the frost and the winter – you get the idea. Suffice to say that this is Black Metal that harkens back to an earlier time and an influence from bands of these earlier eras can be heard in their sound, Burzum for one.

The Black Metal is offset with more atmospheric forays into lighter territories and these parts help break up the release.

Screaming vocals are joined by cleaner approaches on occasion, adding another aspect to the delivery of the band’s message. The Bhleg vocalist has a clear, powerful scream and the cleans are performed well.

An enjoyable album. The kind of album to just drift off with and become almost hypnotized by the droning Blackened riffs. Give Bhleg a spin and see if they can show you their frosted visions of a natural landscape.

Maahlas – Nightmare Years (Review)

Maahlas are from Norway and this is their début album. They play Melodic Black Metal with a progressive edge.

Well, this wastes no time in making an immediate impact on the listener with its blasting melodies and sharp vocals. It’s dynamic and bright, with lots of colourful leads and atmospheric flourishes.

This is quite a varied mix within its sub-genre as it contains elements of Atmospheric, Melodic and Progressive Black Metal all rolled into a very well produced album.

Maahlas manage to show very early on that they can play in a very aggressive manner as well is also being able to demonstrate subtlety and nuance. This largely manifests itself through the inclusion of lighter and more sensitive moments that are littered around the album’s blistering Black Metal. This is further enhanced by more Progressive and Atmospheric Black Metal elements.

Nightmare Years boasts a heady combination of the above and results in an album that sounds very accomplished. The musicianship is tight and the riffs are inventive and interesting. There are lots of great additional enhancements and ideas dotted throughout these 11 tracks and it’s an easy album to digest and enjoy without it becoming too staid or formulaic. It’s not an easy line to walk but the band do it naturally and with ease.

Each song is well-written and delicately masters the trade-off between aggressive tendencies and more restrained, considered influences. Clearly the band have a natural talent for this and their passion and personality shines through.

The vocals are very well delivered, with the singer alternating Blackened shrieks with deeper growls and everything in between. It’s a strong performance and crowns the music like a dark jewel. Unexpected clean vocals also appear on the fourth track and add yet another string to their bow.

Nightmare Years is a stunning victory of a début album. I look forward to getting to know this album even better over the coming months and years; it’s already made a big impression on me and I think this one is very firmly a keeper.

Laster – De Verste Verte Is Hier (Review)

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

I’m a fan of Laster’s first release Wijsgeer & Narreman so was looking forward to hearing this. The quality album cover was the first thing I liked, and the music soon followed.

Laster play raw, underground, atmospheric Black Metal that’s epic in length and epic in scope.

The band seem to play from beneath a shroud of distortion and hazy guitar fog. The drums and vocals swim just beneath the surface, prowling like unnatural predators seeking the souls of the weary and weak.

De Verste Verte Is Hier is less about individual riffs and more about dark feelings evoked by the instruments that howl and gust like the wind. Laster create dark sonicscapes of reverberating nightmares and ever-present darkness.

Atmosphere is a big part of Laster’s identity and they wield it like a weapon. Desolation, despair and negativity are commonplace, but less common are the little rays of hope that occasionally pierce the gloom, such as on the main starting riff of Tot de Tocht ons Verlicht.

These are not songs to idly listen to, these are songs to experience.

For fans of bands like Vinterriket, Fell Voices, Ash Borer and the like.