Black metal – Page 232 – Wonderbox Metal

Shrike – Sieben (Review)

This is the third album from Germany’s Black Metallers Shrike.

Shrike impress with their unusual sound which is one of a band barely held together by their enthusiasm for their art, whilst concurrently holding it together long enough to breathe life into the 5 cold, dark tracks they offer us here.

There is a real authenticity and honesty to Shrike, and the lack of spit and polish on the songs is a plus as they live and pulse with an organic vitality that just wouldn’t necessarily be there if the band worked differently.

The songs are relatively varied and full of ideas for what is essentially primitive Black Metal. It’s a tribute to the band that they successfully inject a bit of personality into the genre and do their own thing with it.

At just over 30 minutes this is an enjoyable Black Metal album that has an elusive, intangible special ingredient that keeps you returning for more.

Favourite Track: Von den Farben der Sehnsucht. A very well constructed and nuanced song.

Lord Mantis – Death Mask (Review)

Lord Mantis are from the US and play Blackened Sludge Metal.

This is torturous, nihilistic Sludge with Blackened overtones and a deep, deep desire to do harm. They arm themselves with all kinds of sharp implements to rabidly experiment with in the search for the ultimate frenzied stab wound pattern. This manifests itself as 47 minutes of Blackened Sludge Metal with some noise components thrown in for good measure.

The songs are the aural equivalent of darkness made solid, with lurking dangers and scything evil hidden within and somehow free to move around in the impenetrable solidity of a corporeal inky black night.

Sounding like a more savage-than-normal Sludge band, Lord Mantis take vitriol to new heights and display a callous disregard for standard genre rules. Unlike some Sludge bands they also include blast beats and noise assaults in their armoury of nasty delights, and wield them with wanton brutality.

If you can handle the acerbic nature of the music then this is top of the league stuff. Depraved, vile, sinful and warped; this may be one of the best records of the year so far.

Bloodthirst – Chalice of Contempt (Review)

Poland’s Bloodthirst play Black/Thrash Metal with a hard edge.

This is harsh music that positively bursts forth with pure belligerence and arrogance.

For all their severity they also find the time to introduce some melodies and leads into the proceedings which provide depth and interest.

The addition of Blackened riffs and blastbeats into the Thrash Metal template is a welcome change from the hordes of Thrash bands who all want to be Testament. Some songs are more Thrash-based than others, while others sport this Black Metal influence more openly.

In fact, sometimes I’m torn between describing them as a Blackened Thrash band, or a Thrashy Black Metal band. Not that it really matters, but it demonstrates that they do something more with the the Thrash template than simply repeating what others have done before them. Either way; it’s Metal to the core.

The vocals are abrasive and uncompromising, falling more into the Black Metal camp than the traditional Thrash one. Snarling and raging; they’re not to be underestimated.

A very good album – give it a listen.

Chiral – Winter Eternal (Review)

This is the first demo release from Chiral, from Italy.

For a demo the sound is better than you might expect.

The music is melodic and frozen Black Metal with utterly dark, deep, guttural Death Metal utterances bubbling just undeneath. Occasional screams break the surface and leave ripples of discontent where they appear.

Old-School Swedish Black/Death Metal influences can be heard, but these are not plagiarised, merely used for passionate inspiration.

The demo cover reinforces the cold nature of the music, with the shrouded sun promising a brief hint of hope amongst a forlorn scene, characterised in the songs by the melodic riffs vying for position with the darker, icy aura.

Three tracks, 10 minutes in length. Very enjoyable for the short time it’s with us. I look forward to seeing what comes next from Chiral.

Whitby Bay – Unextinguishable Candle (Review)

Whitby Bay are from the UK and play Black Metal.

At only 4:30 this is a very short release, with a raw sound and a rawer temperament.

The first track Unextinguishable Candle is fast and underground, with rasped vocals over razor riffs and blasting drums. They still find room for a small bit of minor melody near the end of the track and even round things off with some deep growling.

The slightly longer second song Black Cape is not as blasting and has more rhythm and, dare I say it, catchiness. Riffs turn unexpectedly and rise/fall in line with the drums. After it descends briefly into noise it returns mid-paced, icily melodic and with a very manageable riff that works well.

Short and to the point, this shows great promise for the future. Ones to keep an eye on I feel.

Infestus – The Reflecting Void (Review)

Coming from Germany, Infestus play sophisticated Black Metal.

This is complex and multi-faceted music that explores a multitude of feelings and emotional states throughout the 54 minutes playing time. It’s state-of-the-art Black Metal with a top quality sound and a will to succeed.

The songs are reflective of this nature and excel at delivering emotive, dynamic, Blackened compositions that show off the talent of the powerful mind behind the band.

Dark melodies and riffs that bleed strength and emotion crackle and cascade across your consciousness as your intellect feebly struggles to comprehend the vastness of the infinite mysteries of the hidden night.

The impressive soundscapes that make up these 8 tracks are writ large against this darkened canvas and are brought to full technicolour life in brazen shades of mortality and buried life.

Each song brings a new experience to the fold and wields forbidden knowledge like one who was born to an esoteric existence, dedicated to withholding such dark arts from the unworthy masses.

This is elite music in all senses of the word. This is Infestus’ magnum opus. This is essential.

Interview with Invertia

In my recent review of Invertia’s second album Another Scheme for the Wicked, I wrote that it was intriguing, harsh and exciting; my viewpoint hasn’t changed. This is an interesting and novel band and they have released an album worthy of taking the time to get to know it. Questions were asked, and answers were given…

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

We are an industrial metal band from the Northeast USA who write progressive oppressive music that you should be paying attention to because your rights are being deprived from you and will soon be taken away by those who oppress you.

Give us a bit of background to Invertia

When we met we knew it was something different from the metal crowd or other genres or if it would even work…that was the second week. And here we are in week…604…

What are your influences?

Its funny you ask. You can not put us into a box full of hashtags but we are entirely influenced by Sabbat, Hank III, Celtic Frost, Slayer, Black Sabbath, Bathory, and The Misfits.

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

We don’t listen to music because we have been rehearsing for months. You tell us, has anything good come out?

What did you want to achieve with your new album?

We wrote and wrote and wrote and scratched and wrote more and scratched more and rewrote and ripped apart and scratched it all before we wrote this because we wanted to.

What can you tell us about the lyrics?

We write about the exposure of the daily rhetoric of our culture to provoke thought and action. So long as it is not at any of our shows. We are trying to concentrate.

Give us a bit of information on the songwriting process.

Actually we have been writing this way for years but now we have added Kurt Gluck from Submerged & Ohm Resistance our record label to help us write which will change things up in who knows what way.

Tell us about the remixes – how do you think they relate to the originals?

That’s a good question. The artists chosen are some of the best in their genres and you get to see how another artist interprets the song & how their creativity comes out of them through the music that we wrote.

Are you happy with how it all turned out?

It is a fresh take. It’s exciting.

How do you see your songs/direction developing in the future?

We want to grow and expand our sound/style and expertise as much with our next album as we did with our first and second album.

What’s next for Invertia?

Maybe a mini-tour? Thanks, we appreciate it. Now, we need to sleep. Buy the album here: https://ohmresistance.bandcamp.com/album/another-scheme-of-the-wicked

Thanks!

Dead in the Manger – Transience (Review)

Screaming out of the US, Dead in the Manger are an unholy fusion of Black Metal and Grind.

This release is 18 minutes of pure depression and hatred in equal measure.

Unusually the band juxtapose Funeral/Depressive Black Metal against furious Blackened Grindcore. It works due to a skilful weaving together of the two usually disparate genres.

The slow misery of the haunting opening track gives way to the savage, focused Grind of the second. The third and fourth combine aspects of both styles in a way that’s a welcome breath of stinking air; savage Blackened Grind colliding with dirge-like riffs and miserably anger. The fifth is a haunting interlude of samples and dark atmosphere, while the final, (and longest), track is blistering and solemn; blastbeats rage over sorrowful chords.

And what of the vocals? Black Metal to the core. Like static being vomited up by a diseased corpse. Perfect.

Dead in the Manger are hopefully not transient, hopefully they will be with us for some time yet.

Interview with Akrotheism

Akrotheism have recently released Behold the Son of Plagues, which is a stark reminder of the power and glory of atmospheric Black Metal done in a non-symphonic way. With a path born of both nostalgia and forward-thinking, Akrotheism are certainly leading the way in this genre for my money. Words were exchanged below…

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

Akrotheism consists mainly of four beings. Aeon, Naos, Schism and Dagwn. Also Scythe helped us in the recordings of our début album and in some live shows until now.

How did you form?

Our concept started to shape in the midst of 2012 when Aeon, Naos and Schism decided to share their common principles and ideology about black metal both for the music as much as the philosophy behind it. Later, Dagwn came to complete the circle of Akrotheism embodiment.

What are your influences?

Significant role on our creations plays our listenings which varies from 80’s classic heavy metal to late black metal, and dark ambient. Apart from the musical field, humanity, religion and society has a great impact to our minds so as to make us express our selves in the way that is described in our album.

What are you listening to at the moment that you want to recommend?

Svartidaudi, Nightbringer, Dosdsengel, Acherontas, Mgla, Black Altar, Deathspell Omega are some of the bands that we are listening this period and we would recommend them to all those who are interesting in releases which are aggregated in all levels.

Give us some background to the creation process of Behold the Son of Plagues.

After our formation we gathered and started to combine some compositions that we had individually. The final composition though came during the recordings while several ideas was added on. The recordings completed at Devasoundz studios while the mixing and mastering took place at the Necromorbus Studio by Tore Stjerna. After that we asked from Timo Ketola to take care the cover art and from Marco Marov two inlay illustrations. Our logo also came later from Daniel Desecrator.

What can you tell us about the lyrics?

The lyrics are born through our daily contact with the society. The corruption of the mankind, the exploitation of human minds by religion and the sterile hopes to be saved are issues that constrain us to write about them and express our perspective.

In my review I say that you are taking the best parts of the mid-90’s Black Metal elite and making them your own. Would you identify with this statement?

The truth is that many of the bands of the second wave of black metal have affected our music as much as the new ones that I mentioned before. I would say that I agree partly with your statement in your review since I don’t find any similarity with Cradle Of Filth.

Are you satisfied with how the album came out?

Yes we are absolutely satisfied with the whole result and with Odium Records which released it. We feel that it supports us and we are thankful for that.

Would you do anything differently?

Any decision about the album taken after a mature thinking from all of us. Both musically and visually as well. So I think that everything is as we wanted to be.

What is your aim with Akrotheism – what do you want to achieve?

We have no other aim than continue to exist. For us its the necessity to express our dark feelings and thoughts. Its like a purgation for our souls.

What does the future hold for you? Thanks!

We plan to do another split release with Ars Macabra and Septuagint and after that we want to focus on our second album. Thank you very much for the interview!

Thanks!

Interview with Rauhnåcht

Rauhnåcht have recently released their latest album Urzeitgeist which is a dark treat to listen to. It was a pleasure to ask some questions to this elusive entity. So stick the album on and soak up the atmosphere from the songs while you read the responses below…

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

Rauhnåcht is an Alpine Black Metal band from Austria and exists since 2010. I am active in the Black Metal scene since 1992 through my other band Golden Dawn. With Rauhnåcht I try to create a pure, nature-based atmosphere with hypnotic song structures and strong focus to the myths of the Alpine region.

Give us a bit of history to Rauhnåcht.

In 2010 I met Max from the Alpine Folk band Sturmpercht. I was fascinated by the atmosphere of their music, so I created the first Rauhnåcht songs on the basis of samples out of Sturmpercht albums. I also went to a cave with some simple traditional instruments and a field recorder to record some basic tracks and background effects that can be heard on many Rauhnåcht songs. I really like the special atmosphere this process brought to the first Rauhnåcht album „Vorweltschweigen“. In 2011 and 2012 we also released an EP called „Waldeinsamkeit“ and a split-EP with Sturmpercht. Rauhnåcht have played two live gigs with session musicians so far.

What are your influences?

Basically it’s still the same music that made me start composing songs more than 20 years ago – the pioneers of the second Black Metal wave from Scandinavia, as well as the mighty Bathory. Today I don’t really get inspiration by any current bands, I am rather influenced by the mighty nature of my home country and the emotions I feel when I walk up on the mountains.

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

I work at my own recording studio and so I have to listen to a lot of music every day. At the moment I master some obscure old Folk records from the 70ies. When I don’t work on studio projects I am almost happy to have silence around me. I recommend all young metal heads to get in touch with the roots of this music, when records didn’t have all the same generic plastic sound as today.
What did you want to achieve with your new album?

I think it is the wrong attitude for an artist to have some kind of „achievement“ as desire when composing music. I want to transform my emotions into music and want to be satisfied with the result, that’s all. Oh yes, and I wanted to write acceptable German poems as lyrics for the first time.

Are you happy with how it turned out?

There are always details of the sound and the arrangements that you would like to alter. But there is also a point where you have to lean back and say, ok, it is good as it is. Full satisfaction with my music is never possible for me, otherwise I wouldn’t have any will to continue.

What can you tell us about the lyrics?

They reflect a pure, traditional, nature-based view on life. I often use myths and descriptions of nature as metaphors for this ideal puristic lifestyle. I want to show the way back – people should think for themselves about all possible aspects of this.

Rauhnåcht Picture Give us a bit of information on the songwriting process.

Most of the time I start with a field recording, a sample of a traditional instrument or just the sound of water or wind to evoke a certain atmosphere. When this atmosphere fulfills me, I start to play guitar riffs around that. I record everything I compose immediately, sometimes I even start to mix during the songwriting process. Then I arrange all the rest. Good songs are written quite fast, at least the central ideas of them. When I struggle with the structures or with certain parts, its a sign for me to delete the song idea. That’s not always easy, especially as I am a one man band. For me the most demanding and rewarding aspect of writing music is, that it is creative and structured at the same time.

In my review I state “Rauhnåcht evoke the same feelings of mystical grandeur that bands like Emperor and Gehenna were so good at playing back in the 90′s” – what are your thoughts on this?

The first Emperor album was for sure an inspiration for me when I was young, also early Satyricon, Burzum and of course Bathory. I think I can’t deny these roots and I don’t feel ashamed for them. I think that the era between 1992 and 1997 was the strongest Black Metal era, of course mainly manifested through the Scandinavian bands. When bands like Dimmu Borgir and others became „big“ and the modern production techniques started to get easily accessible, the true spirit within Black Metal music faded.

Some of the subtle instrumentation and effects aid the songs in their formation but only become apparent on closer inspection. Was this a conscious decision?

Of course it was. As I mentioned, I usually start my songwriting with field recordings and effect sounds. Sometimes this is no longer necessary as soon as the rest of the tracks is recorded, but often I just leave that in the background to keep this subtle atmosphere. Think of a forest with its natural undergrowth and thicket.

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

Personally I don’t feel any link to the Black Metal scene anymore. The way people create or perceive music has changed during the years, in my opinion there is much less dedication in the scene. Most people regard music as just another hobby in between drinking beer and playing computer games, bands come and go, every nerd can create „bedroom Black Metal“ with a guitar and a computer. So I have enough Black Metal around me through my works as producer and my own music, but don’t feel like belonging to any scene.

How do you see your songs/direction developing in the future?

I will focus even more on a hypnotic, meditative structure and sound without losing the raw Black Metal energy.

What’s next for Rauhnåcht?

Many walks through hidden paths in the mountains for inspiration. In autumn there will be a split album with Sturmpercht called „Zur Ew’gen Ruh“ on CD and double LP (probably also in a wooden box). Thank you for the opportunity to talk with you and hails to all fans of individual Black Metal music!

Thanks!