Avant Garde Black Metal – Page 9

Sigh – Graveward (Review)

This is the tenth Sigh album. If you’ve never encountered them before, they’re from Japan and they play Black Metal. At least, that’s what they started out as and they’ve just kind of evolved from there. Avant-Garde Black Metal/Extreme Metal is probably closest to the mark these days, if you have to label it at all.

Sigh are one of the few bands in existence that come even close to being able to be called unique. They definitely have their own sound and identity, even if this has changed quite a bit through the years.

So on to Graveward. This is dense and complex music that features a lot of different parts to the songs. Clearly a lot of work has gone into these compositions.

The Black Metal base is present and correct, as well as the Avant-Garde tendencies. Add to this is a psychedelic influence, powerful cinematic qualities as well as a strong theatrical component and you have an album that’s born to stand out from the pack.

The theatrical nature of the release belies the horror-themed core of the album, but ultimately serves to reinforce it.

As you might think, each track has a lot going on and it’s a lot to take in on first listen. Subsequent spins reveal all kinds of nuances and little things that you didn’t necessarily consciously pick up on first time around.

Choirs and orchestration rub shoulders with Thrash riffs and Blackened croaks. Psychedelic keyboards and operatic vocals join horns and saxophones in backing the distorted guitars. It’s a true melting pot of influences that probably shouldn’t work but it really, really does.

Befitting music that has a lot of different components to it, Graveward features a wealth of guest appearances from well-known members of bands such as Trivium, Dragonforce, Shining, Rotting Christ and The Meads of Asphodel, among others.

Somewhat of a cross between Emperor, Therion, Arcturus and some form of crazy Progressive Jazz, Sigh can always be relied upon to liven things up with their presence and Graveward is no exception.

This is a truly exceptional release that many will probably find overwhelming with its multicoloured assault on the senses. Those who endure, however, are rewarded tenfold for their perseverance.

Essential listening.

As Light Dies – The Love Album – Volume I (Review)

As Light Dies are from Spain and this is their third album of Black Metal.

Atmospheric and moody, As Light Dies create darkly melodic compositions that take the Melodic Black Metal theme and add some interesting twists to make it their own. Avant Garde and Gothic/Depressive Black Metal influences come together across this very professional album.

Mournful cleans accompany jagged screaming growls on their journey from tragedy to tragedy, like dark tourists in a town of pain.

Quality guitar work is apparent from the off with Blackened rhythms being performed alongside emotive leads. The songs aim for maximum emotional impact whilst retaining the bite of their Black Metal core.

The album has a good sound and everything sounds clear and punchy, allowing the band the room to spread their creative wings with freedom.

The keyboard highlights work with the music instead of dominating it and add texture to the already expressive guitar work.

This album is well-written and well-performed. Check them out.

Abbey ov Thelema – Liber DCLXVI (Review)

Abbey ov Thelema are from Slovakia and this is their second album.

They play experimental, avant garde Black Metal. Highly orchestrated and complex, this is ambitious and bold as only the best Black Metal can be. Although saying that, Black Metal may be the underpinning starting point but it’s mutated and morphed far from it’s original format.

The tracks can be both chaotic and coherent; energetic and subdued; eclectic and considered. Sometimes it sounds as if The Dillinger Escape Plan had been consumed by Ebony Lake with Arcturus and Dødheimsgard overseeing proceedings.

There is clearly a lot of high class musicianship at play here, with everything arranged to exacting standards to create a whirling maelstrom of conflicting soundscapes that approach like furious waves and lash at the listener, never letting them rest or prepare for what comes next; the moment one onslaught of musical might crashes by the next tsunami of sound is about to hit.

It’s not all about the, (barely), controlled chaos of course, they also have calmer moments. These lulls act like buffers between the oncoming storms that they irregularly unleash.

This is not a band that will appeal to lovers of standard song structures and musical rules, but people who are looking for something a bit more adventurous should definitely check this out.

Ultimately this is a very hard album to describe as mere words don’t adequately do it justice. Abbey ov Thelema create a sort of demented majesty that really needs to be heard to fully appreciate what they’re about.

So strap yourself in, don the safety goggles, brace yourself and play at top volume.