Black metal – Page 232 – Wonderbox Metal

The Great Old Ones – Tekeli-li (Review)

This is the second album from French Black Metallers The Great Old Ones.

They play Black Metal with a good spread of Post-Metal thrown in, or, Post-Black Metal as it’s otherwise known.

This is Black Metal brimming with atmosphere and awash with colour and texture. A progressive and diverse album, this has a host of captivating passages and sections that transport the listener to another plane of existence.

The Black Metal is piercing and caustic whilst the Post-Metal is haunting and enticing. Mixed together and swathed in atmosphere these songs are the epitome of expansive and epic Black Metal. Cascadia clearly doesn’t have a monopoly on this style of Extreme music.

The emotional resonance and dark moods of these songs should not be underestimated. Each track adds to the mystique of the album; each one a further chapter in the story, a further unfurling of the nightmare. Based on H.P. Lovecraft, how else could it be?

From the soaring heights of iceblasted mountains to the darkest pits of the blackest abyss, this is a journey that will scar forever.

In an age where more and more music is short-lived and another discarded consumable, this album is anything but.

Essential listening.

Strafk – Phaseshifting (Review)

Strafk are from Russia and play Black Metal.

This is Experimental Black Metal with an Industrial feel. The sound is a very nice one; warm and deep but tinged with a rougher, almost creepy vibe that complements what the band is doing well.

The dark and menacing guitars combine piercing, angular riffs with fuller sounding sections to have a good mix of the both. They seem to creep around the songs with nary a care in the world.

Slouching, at ease; this is Black Metal that’s unhurried and almost free form in its composition in some respects, although everything is held together by the drums on one side and the electronics/effects on the other.

Vocally we have sub-audible mutterings that, like the guitars, only loosely follow what is going on with the rest of the track. Like the guitars though, this lends things a feeling of freedom to explore the surroundings while the aforementioned percussion and noises stop things from wandering off too far.

This is the sound of a band experimenting with Black Metal; exploring the ruins at the base of the genre, collecting what remains of past travellers and using them as a basis for reanimation and a new creation.

I don’t know what they will end up with eventually but I’m quite happy to spend time with them as they build it.

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.

Malhkebre – Revelation (Review)

This is the début album from French Black Metallers Malhkebre.

Underground Orthodox Black Metal played with spite and venom.

The vocals are traditional Black Metal croaks that mix in some occasional chants and more ritualistic utterances and hymns to create an overall impression of worship or summoning of some hideous deity.

Revelation is ugly and unhinged, sounding only one step removed from losing its identity in a feral nightmare of debauchery and twisted filth. There’s nothing pretty or romantic about this form of Black Metal. This is all about the dark side, the underbelly of the scene. The occult feeling is strong but in a base, sacrificial way; rather than being shrouded in mystery or fog it’s shrouded in blood and gore.

For all of this though the band don’t truly lose themselves in a frenzy as they’re more than capable of holding back when necessary and playing slower, no less warped riffs and passages; Hystérie Révélatrice (Part II) is a perfect example of this.

Utterly devoted releases like Revelation are surprisingly rare these days. If you like your Black Metal primal and unadorned then this is for you.

Hyperborean – Mythos of the Great Pestilence (Review)

Hyperborean are from Sweden and play Black Metal. This is their second album.

We have 9 tracks here, one of which is a cover of (Don’t Fear) the Reaper by Blue Oyster Cult.

Hyperborean play Melodic Black Metal with bite and flourish. This accomplished band are comfortable playing both at speed and at a more mid-paced rate. Expressive leads and emotive riffs accompany some inhuman drumming to produce the kind of songs that bands like Naglfar and Satyricon would be proud of.

The vocals scream their rage into an empty abyss, occasionally venting into a deeper grunt to emphasise their disdain for all things full of life and hope.

The music is sharp and some of the riffs are surprising; they have a good sense of dynamics and a good ear for melody. They also incorporate more solos and leads than a lot of bands of this ilk and this sits on top of their hardened core making the songs seem to zip by in a colourful blur. And with a 54 minute album this is no mean feat.

This is really enjoyable Black Metal and I like that the band haven’t gone the safe route and simply regurgitated generic riffs that have bean heard a thousand times before; some of the mid-paced riffs especially hit the spot nicely and really get the limbs gyrating along with the tunes.

Quality band, quality album.

The video below is for the title track, and one of my favourites from the album. Give it a try.

Spectral Lore – III (Review)

This is the fourth album from Greek Black Metallers Spectral Lore.

Spectral Lore play atmospheric Black Metal which courses with malevolence and a feeling of exploration without too much experimentation.

The songs are long, (as indeed is the album at just under 90 minutes), and they’re not afraid to develop their Progressive and Ambient sides. Well, I say “they” but Spectral Lore is actually only one person, which makes this album even more impressive.

The songs have a good amount of interest and variety during their long playing time which is essential for a work such as this. The Blackened melodies slip out of the speakers and the howling vocals are perfectly judged.

Even the bass is audible and does its own thing irrespective of the guitars in a rare show of autonomy.

Each track is emotive and lavishly bestowed with depth and character. A classic and masterfully judged recording harks back to the early glory days of the genre when Black Metal was already straining at the seams of its genre definitions but had yet to burst out completely. The sound in general is reminiscent of early Emperor and Satyricon and evokes nostalgic feelings whilst simultaneously earning it a stamp of high quality.

II is a veritable work of Black Metal art. It’s worth investing in this as its true value will only increase in time.

Lysura – II (Review)

Coming form the US, Lysura play Black Metal and this is their latest release.

II has two tracks, each clocking in at 8:41. This is Dissection-inspired Black Metal with a hint of Emperor.

Seasons in Exile starts off with some soft sounds and a gruff spoken voice barely audible. This slowly and inexorably builds to a rather grand set of riffs and noises reminiscent of Enslaved.

Once the song speeds up the screeching high vocals take the fore and we’re in icy cold territory with some bleak melodics and just a subtle hint of Thrash. Some Doom and even proto-Death Metal passages are allowed into the song enhancing it with their presence.

The second track Tome of Suppression starts with a rumbling, chuggy groove with razor blade vocals propelling it forwards before dropping off into lighter atmospherics with some almost 70’s noodling going on. Things soon get heavy again and add in a few Classic Metal riffs and we’re good to go.

The track demonstrates Lysura’s competence in weaving in small snippets of other genres into their sound without neglecting or weakening the Black Metal core that they’re founded on. Like the first one, this track is a winner.

II has a good energy about it and the band seem comfortable with their songwriting skills, even throwing in solos and leads.

Although this is billed as a demo the sound quality is perfectly fine for the most part and doesn’t get in the way of the enjoyment factor at all.

This is the kind of Black Metal that it’s easy to like; even within the given framework Lysura provide enough variety and interest to sustain and have enough depth of composition to ensure they aren’t written off lightly.

They have yet to release a full album, but when they do it’ll probably by a stormer.

Check this out.

Streaming here – http://www.metalunderground.com/news/details.cfm?newsid=102767

Flesh Born – Han (Review)

Coming from the US Flesh Born are set to unleash their latest EP on the world.

This is screaming Hardcore with a Black Metal feel; dark and Blackened moods with sharp riffs all packaged in very short songs designed to pierce the minds of the weak.

The Blackened riffs are layered with high pitched screams while the Hardcore sensibility keeps things from veering to far into Black Metal territory and ensures the tracks last only as long as they need to.

Eight tracks, 11 minutes; this was never going to be pretty. Having said that though Flash Born do find time for less abrasive and more emotive riffs in their arsenal of pain.

Even with the short length of the songs the band make ample room for some slower riffs with the guitars lazily spreading misery and hardship like a virus. The aptly named Gloom is a perfect example of the art of Blackened Doom, cut short.

If you haven’t encountered Flesh Born before this is an enjoyable introduction to them. If they ever get around to releasing a full album it will be really interesting to see what they do with it.

https://www.facebook.com/fleshborn

Interview with Narbeleth

Coming from Cuba and about to unleash A Hatred Manifesto, Narbeleth mean business. This is real Black Metal, unforced and ready to rage. I braved the darkness to find out more…

Give us a bit of background to Narbeleth

HAIL! NARBELETH was born back in 2008. At that time I played guitar on my previous band ANCESTOR, but I had many ideas that were out of this band concept, so I decided to create my own project. From the beginning NARBELETH was supposed to be a only a studio band, but two years later I decided to give a concert, and since then I’ve played in some occasions. To the date I’ve released “Dark Primitive Cult” demo, “Diabolus Incarnatus” album, “Hail Black Metal!” Ep, and now is almost out “A Hatred Manifesto”, the 2nd album.

What are your influences?

My influences come from the early Scandinavian Black Metal mainly. BATHROY, DARKTHRONE, ARCKANUM, JUDAS ISCARIOT, early TORMENTOR, LORD BELIAL, are among my main inspirations.

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

These days I’m listening to SKOGEN, SKYFORGER, DEAD TO THIS WORLD, DEMONICAL, NORTHERN PLAGUE, CRAFT, KULT, WARDRUNA… Bands that worth to check out for sure if you haven’t yet!

How do you feel about the wider Black Metal scene?

Yes, the Black Metal scene has become wider in the last years, and that’s good from the point of view of a revival of the essence in bands that create this art based in the early concept of it. Now, what is disgusting is all this trend of new suicidal and depressive Black Metal, and that’s so lame!!!! Black Metal is about strength, about supremacy of the individual and his power to grow up spiritually and become whatever you want, without any boundaries or limits.

Did you have any particular aims when you started to put together A Hatred Manifesto?

Absolutely! First of all, I wanted to get a better sound quality, and that’s one of the reasons this album delayed more than I was predicted; and also I wanted to go a little further with this albums that what I accomplished with the previous releases, and Folter Records gave me this opportunity.

Are you happy with how it turned out?

I am very happy with the general result; with the album itself, in all aspects, and with the release and work by Folter Records.

Tell us about the lyrics and themes running through the release

My lyrics are about Black Metal, about my life, and my vision of the world and how religions lead humanity to a cliff by creating intellectual barriers to people. I write about the freedom and the power every human have inside to be greater every day.

How do you write your songs?

First I compose riffs using the guitar; maybe I do a complete song, maybe I make a riff and then it fits to a previous recorded one… that depends on my inspiration. Then, when I have the whole song I do the drums and finally the lyrics

Did the recording process go smoothly?

Yes, it was slow, but efficiently. I work when I feel inspired and with no pressure so all can flow spontaneously and the most natural. I don’t like to force the creative process.

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

NARBELETH’s sound is what you know already, and that will be the path to follow in the future. Black Metal is the lead, and I will follow it step by step always in NARBELETH.

What’s next for Narbeleth?

Right now I’m preparing to perform at the mighty Under the Black Sun festival next July, so see you all there raising fists and horns in the name of Black Metal. After I return from Europe I will begin to compose for the next album.

HAIL!

Valdrin – Beyond the Forest (Review)

This is the debut release from US Black Metallers Valdrin.

Valdrin play Melodic Black Metal; if you think of Dissection, Old Man’s Child, Dimmu Borgir and Emperor as your starting points you’ll get the right idea.

That’s not to say this is overly symphonic or orchestrated though; Valdrin may tip their toe in that genre of Black metal but they firmly live on the darker, harsher side of the Melodic Black Metal spectrum.

The orchestration and effects they employ are subtler than the more overt side of Dimmu Borgir and even Emperor, and are mere enhancements to the songs rather than the driving force.

The band know how to effortlessly mix aggression and melody, and have a good amount of variety in their compositions for this genre. They even employ a few solos; unusual for Black Metal but a very welcome addition.

The pure-blooded Black Metal vocals work well and complement the darkness of the music.

This is atmospheric Black Metal with none of the pomp and plenty of bite. It’s good to hear a few bands playing this style recently and bringing back the good old days of harsher Black Metal whilst still retaining some melodies and a sense of atmosphere.

Highly enjoyable.

Favourite Track: Beyond the Forest. Epic and empowering.