Black metal – Page 199 – Wonderbox Metal

Chaos Moon – Amissum (Review)

This is the latest EP from Chaos Moon, who are a US Black Metal band.

Having previously enjoyed their 2014 album Resurrection Extract, this is a re-released version of their 2015 EP of the same name, with two extra tracks added on for a total running time of 44 minutes spread out over 6 songs.

Chaos Moon’s music is atmospheric and raw, with elements of Shoegaze and Dark Ambient. Theirs is Black Metal with character and a grimy, occult lustre that marks them out as something a bit special.

Obscure melodies and sinister vibes are never too far from the blackened action, and the relatively subtle keyboards are artfully hidden just the right amount behind hateful distortion, which allows them to come to the fore when the guitars are absent.

My favourite track is probably the title, (and opening), song Amissum. It’s one of the bonus tracks and is a seething mass of blackened bile and repressed atmosphere. It’s an impressive piece of music and as the newest song here it bodes well for their upcoming album.

The rest of the music here is no disappointment, mind, with the remaining songs showcasing the band’s mix of aggression, mood and blackened sensibilities. Each track has something a little different to offer the listener and taken as a whole it’s a very well-rounded package.

Overall the band’s songwriting is suitably strong, and Chaos Moon are definitely improving over time. This latest release keeps up their high quality levels and exceeds them in some ways, producing an album-length EP that is extremely enjoyable indeed.

Highly recommended.

Interview with Vredehammer

Vredehammer’s second album Violator is an incredibly enjoyable 35 minutes of blackened aggression that I can’t seem to stop listening to. Wanting to know more, mainman Per Valla provided me with some more information…

For those who are unfamiliar with your band – introduce yourself!

We are Vredehammer from the north of Norway. We play extreme metal. Some people compare our music to Decapitated, Keep of Kalessin and Testament etc.

Give us a bit of background to Vredehammer

I started Vredehammer as a soloproject in 2009 without putting too much effort into it really, but when people seemed to like it and I had several offers from labels, I decided to start taking it more seriously. Before we started doing live shows Vredehammer had already released 3 EP`s. After this we signed to indie recordings and started releasing albums and doing tours etc.

What are your influences?

Probably the same as for all metalheads my age I would say. Testament, Pantera, Metallica, Megadeth, Sepultura and so on.

What are you listening to at the moment that you would like to recommend?

At the I am listening a lot to the new Dream Theater album “The astonishing”. I definitely recommend it. A real masterpiece!

How do you feel that you fit into the wider Black Metal scene?

Personally I don’t think we are a black metal band, but more just an extreme metal band. Given that we live far north in Norway we don’t really associate with the rest of the Norwegian bands, this way I think we have more freedom to do our own thing and create our own sound with time. Besides that I feel we offer the same amount of quality as other established artist in the genre.

Give us a bit of background to Violator – any particular concepts or ideas you want to discuss?

The music was inspired and written after having done a couple of tours with Six Feet Under. I was never really into their music until I saw them live, and the power they distribute with their groovy material. I wanted to adopt this feeling and offer a more groovy sound and feeling live. The lyrics are mainly inspired by books from Stephen King, war and some personal lyrics where I share my views on ignorant people and the state of the world.

Tell us about the album artwork

The album artwork was created by Remi Juliebø and Indie Recordings. They thought it looked cool and so did we hehe.

How do you go about writing your songs?

I write all the raw material and the lyrics. In the studio all members of the band put their personal touch on the songs through their instruments.

How did the recording process go?

This time the recording process was insanely smooth. No bumps in the road plus we had a really great studio technician Stamos Koliousis. Basically I tracked the guitars at home, sent the files to our bass player who did the same, and in the end our drummer Felix tracked the drums in a studio in Oslo.

What’s your favourite song on the album and why?

My favourite song is Deadfall. It’s a heavy motherfucker!

What does the future hold for Vredehammer?

Hard work and quality releases. That’s basically what we can offer. The rest is up to our listeners, promoters, festivals etc.

Rats of Reality – Obsequies (Review)

This is the latest EP by Rats of Reality, who are a Blackened Crust/Thrash band from the UK.

A short EP at only 11 minutes in length, Rats of Reality manage to have an unexpected start to this release which throws me slightly, before proceeding to demonstrate that yes, they may play some gnarly, crusty, fast-paced blackened grimness, but they do it in unusual and unexpected ways.

On paper, bands like this are plentiful and there’s sometimes very little to differentiate them from each other. As mentioned though, Rats of Reality are a bit different as they also use riffs that are a whole lot more emotive than most bands of this ilk write. They don’t always do this, (Leeches, for example, is a much more straightforward proposition), but when they do the melodies sometimes border on something you’re more likely to get from a Post-Metal/Shoegaze band, and at other times definitely are. Deafheaven plays Crust? Kind of.

Regardless, it’s an interesting and unusual slant on a well-worn sub-genre and overall Obsequies is enriched by these more melodic, emotive guitars. The ugliness of the core style is still here, but now it’s a beautiful ugliness. Or something. Just listen to it, you’ll get what I mean.

I’m pleased by this, as Rats of Reality have surprised and impressed me. I always enjoy it when a band does something a little different, especially if you weren’t expecting them to, and this certainly qualifies.

Highly recommended.

Rorcal – κρέων (Creon)(Review)

Rorcal are a Blackened Doom band from Switzerland. This is their fourth album.

Rorcal are an intriguing band. Having produced a lot of Doom/Sludge/Post-Metal music over the years, their last couple of releases have shown an increasing Black Metal side to their sound, which they now seem to have fully incorporated into their repertoire, (see their split with Process of Guilt, for example). In fact, they’re pretty much at the point now where you could describe them as a Black Metal band and not raise too many eyebrows.

This latest album sees the band offer forth four new tracks spread across 53 minutes, each one a monster. κρέων (Creon) once more demonstrates the band’s mastery of Extreme Metal in all its guises.

The Black Metal elements are present and correct, as are the Sludge, Post-Metal and Doom ones. Rorcal have always had a surprisingly clean and sophisticated sound, despite their predilections for darkness, and κρέων (Creon) is no different. The music may be grim and charged with an energetic negativity, but the band always seem to manage to sound cutting edge no matter what they’re doing, even in their sludgiest or most blackened moments.

These songs mix blackened fury with progressive intent and atmospheric Sludge. As always, whatever aspect of whatever style that Rorcal are currently focusing their attentions on seems to work for them, and the aura of malevolent aggression and downbeat nastiness that these songs exude is palpable.

So, Rorcal return, triumphant, bold and victorious. They are fast becoming one of my favourite purveyors of darkened delights.

Bushwhacker – The False Dilemma (Review)

This is the second album from Canadian Progressive Death Metal band Bushwhacker.

Bushwhacker are an interesting proposition, combining, as they do, both Black and Death Metal as well as elements of Thrash, Sludge and psychedelia into their Extreme Metal sound.

The production is strong and the playing tight. The band have a sound that’s heavy, aggressive and dark, although not without its moments of subtlety and nuance. Harshness and melody combine, with textured riffs and thoughtful aggression leading the way. There’s plenty of leads and solos to get your teeth into and at 48 minutes in length it provides a lot of content and ideas.

The songs are well-written, with good pacing and dynamics. The band have a clear talent for this kind of thing and their confidence and ambition comes out in the strong music.

These are nicely varied songs, working as a whole to provide an album that’s a full listening experience. It’s obvious that a lot of work has gone into making this music what it is, and the end result is a really enjoyable Progressive Death Metal journey, complete with more than enough influences from other camps to make Bushwhacker an interesting and enticing proposition.

The vocals are largely screamed, with an old-school Thrash influence to them in places. They seem to skid, slide and slice over the surface of the lively guitars.

In a sea of samey-sounding bands, Bushwhacker stick out like a sore thumb with their fresh-sounding take on Extreme Metal.

I heartily recommend this album.

Råttkung – Dark Is the Beginning (Review)

Råttkung are a Black Metal band from Denmark. This is their début EP.

This short EP showcases Råttkung’s brand of raw, underground Black Metal across 17 minutes of hate-filled music. It’s ugly, dark and as cold as the frozen wastes.

An ultra-primitive production finds the band recalling the early days of the second wave of Black Metal, both aurally and stylistically. It’s a primitive and lo-fi recording that sounds authentic and honest, although does tend to leech a little power from the band’s songs.

The vocals seem to have been captured on the edge of a blackened abyss, with the singer screaming and growling his way into the raging winds. He sounds possessed and not 100% human.

Furious riffs and blasting drums certainly have their place on this release, but the band also know how to slow it down and use the guitars to foster a creepy, sinister atmosphere, as they notably do on the song Here Again, or to opt for a Doom-ier approach as on Abyss of Terror.

Dark Is the Beginning is aptly named and here’s hoping we hear more of this band in the future, as this is a promising start.

Fimbulvinter – Начертаны Резы Древних Заклятий (Review)

Fimbulvinter are a Russian Black Metal band. This is their début album.

Fimbulvinter’s Black Metal is thoroughly of the old-school, so much so that it even contains a relatively high proportion of proto-Black Metal in the form of more classic-era Metal riffs and licks, including leads and solos.

There’s a pagan feel to some of the guitars and the band successfully capture the original Scandinavian style while also infusing the music with other elements. Infectious riffs from even earlier times are frequent additions and there’s enough of a melodic edge through the leads to grab the attention.

The songwriting is really strong and the band’s grasp of dynamics and pacing is good. These songs are exactly that; songs. Coupled with the highly enjoyable leads and the well-considered rhythm guitars, Начертаны Резы Древних Заклятий aptly demonstrates the band’s considerable talent in writing tracks that are actually quite catchy and memorable.

Screamed vocals make up the bulk of the release, but growls also appear on occasion adding that little bit extra variety and interest.

At only 36 minutes in length Начертаны Резы Древних Заклятий doesn’t outstay its welcome; in fact it leaves you hungry for more. The Metal leads, blackened guitars, solid riffs and rasping hatred that flow easily from the band make this album an extremely enjoyable listen.

Definitely one not to overlook. Very highly recommended.

Old Pagan – Ogdrun Jarhar (Review)

Old Pagan are from Germany and play Black Metal. This is their fourth album.

Here we have 43 minutes of raw, underground Black Metal spread across 8 tracks, including a Secrets of the Moon cover.

Featuring a sharp recording that screams lo-fi darkness, Old Pagan play orthodox Black Metal that’s enhanced by keyboards and cuts straight to the bone like a serrated, rusty blade.

Frozen melodies and dark incantations power these songs, which complete their running time like Satan himself is chasing after them. The music is fast and furious, blasting icy beats and chilling riffs across the airwaves.

Screamed vocals accompany the blackened melodies and pounding drums with ease, keeping pace with the high-energy music and attacking the listener with frenzied abandon.

If you like your Black Metal fast, relentless and raw, you can do a lot worse than Old Pagan; these veterans know what they’re doing.

Mithridatic – Miserable Miracle (Review)

This is the début album from French Blackened Death Metallers Mithridatic.

Boasting a heavy and dirty sound that immediately puts me in mind of Arkhon Infaustus’ Blackened Death Metal classic Filth Catalyst, Mithridatic reveal themselves to be a similar proposition, albeit one with its own blackened charms, of course.

The songs are extremely satisfying and have that fine ratio balanced just about right between Black Metal and Death Metal influences. As such, these songs are both brutal and grim, providing the listener with some of the strongest Blackened Death Metal currently out there, in my humble opinion.

Mithridatic have obviously taken their time with these songs. They’re well-composed, well-structured and have just enough variation to keep things interesting without losing their sense of direction. Blackened riffs, fluid guitar solos, darkened melodies, moody malevolence, brutal assaults and blasting mayhem are all used effectively during these tracks.

High screams and growling shouts form the bedrock of the vocals. The singer has a certain quality to his voice that allows him to have instant charisma, putting me in mind of Morbid Angel on occasion, (whose influence also extends to aspects of the music).

A very impressive achievement. For me, Blackened Death Metal is a style that is all too easy to do poorly, but when it’s done right it really gets the hairs standing on end. This is one such release; not only due to the atmosphere the band create, but also due to the quality and personality of the songs themselves.

A mix of Arkhon Infaustus, Morbid Angel and a touch of Akercocke? Sign me up.

Go check this one out immediately.

Ashen Horde – Nine Plagues (Review)

Ashen Horde is a one man Black Metal band from the US. This is his second album.

The production on this release is quite satisfying; the guitars have a really nice darkened tone to them and the drums are solid and firm.

The songs themselves have a Black Metal base with added Thrash and Death Metal elements fused in. Thrashy Blackened Death Metal, although a bit of a mouthful, would do justice as a description I feel. Unlike a lot of Blackened Death Metal though, the emphasis is more on the Black Metal side, although this is up for debate of course.

The Death Metal aspect of the band lends the songs a forceful muscularity that a purely Black Metal band would probably lack, and in some ways the album sounds like a Death Metal band covering Black Metal songs, musically at least. The brain behind the band can clearly play though, and there’s some quite technical messing about, (itself a technical term…), here and there.

Vocally we get curious snarls that seem half-spoken and half-spewed. I can’t help but wonder how much better they would be if they had more of a traditionally screamed delivery though, but this is a minor quibble; they do the job.

Featuring decent blasting, enough complexity to satisfy and songs that grow over time, this is one to settle into and take your time with.