Black metal – Page 233 – Wonderbox Metal

Voidhanger – Working Class Misanthropy (Review)

Black/Death Metal with a Thrashy edge from Poland. Or Thrash Metal with a Blackened Death edge. Either way it’s a bit of a killer.

The first thing you notice is the granite-heavy sound and the utter crushing demolition job that goes along with it.

The songs are mainly fast and pounding but they also have good taste in their choice of slower riffs. This is quality Metal that’s pretty much half-Black and half-Thrash with an extra helping of Metal.

Chock full to bursting of Old-School riffery with a vague Punk air; these are class songs that know they’re good and can afford to have a cocky swagger about them.

The vocals have a lot of character and individuality. Think of singers such as those of Celtic Frost, Venom, Usurper, Cathedral, et al who manage to infuse their voices with both aggression and personality; the singer of Voidhanger is of their ilk, and it really works wonders.

This is a quality Metal album with a crushing sound that’ll have you reaching for the bulletbelt and spikes faster than you can say “blastbeat”.

Chthonic – Bú-Tik (Review)

Melodic Black/Death Metal from Taiwan; I haven’t heard Chthonic since their excellent Seediq Bale album so I was looking forward to seeing what Bú-Tik had to offer.

Chthonic embody orchestration and fury. Highly melodic and razor sharp, the songs are flourished like swords as only a master can.

Precise, tight riffing and swathes of keys and strings are combined with folk-Asian influences to produce songs that are reminiscent of the symphonic Dimmu Borgir’s and Cradle of Filth’s of the world but with the origins of the harmonies coming from a much different background. Chthonic very much have their own character.

The drums and multi-layered venomous vocals dominate this release, with the orchestration pitched at the right level. The guitars are sheets of serrated steel working underneath everything, and the bass is muted at best.

With good songwriting and an expert understanding of this genre Chthonic have once again produced a well-rounded and thoroughly enjoyable release. There’s an intensity to these tracks and the molten Metal barely lets up until the album fades. With a whole hat-full of ideas and quirks rolled into their sound repeated listens are recommended. The direct assault of the songs works immediately, but after that has gone you’re left with the insidious harmonies stalking you when you least expect it. Symphonic Black Metal earworms indeed.

An impressively realised album that has obviously had a lot of work put into the compositions and structure of the tracks. Check them out and see what you think; just beware the pointy bits – those swords are sharper than they look…

Mord’A’Stigmata – Ansia (Review)

This is Polish Black Metal from Mord’A’Stigmata; their third full-length.

This album features long exploratory tracks that are based in Black Metal but have spread out like a ravenous plague to devour tasty chunks of Post-Metal and Doom.

The riffs and melodies are involving and well-considered, drawing the listener into a maze of blackened misanthropy and trapping them there forever to stare at a twisted reflection of a real world they will never inhabit again.

When the band are playing furious Black Metal they do it perfectly well, but when they are playing parts that are rooted around slower and more emotive riffs this is where they truly shine.

The more Post-Metal moments are studied examples of atmosphere and mood done right, and the blackened riffs are hypnotic and enticing.

The vocals are either Black Metal shrieks of the usual variety, or a more haunting, droning clean vocal that ramps up the atmospheric quotient when crooned over the expressive music.

The vocals and music combined make this a hugely impressive album with lots to like and lots of replay value.

This is an excellent release from a band that deserves a higher status than they currently have. If you like well-crafted and intelligent music with a cold, dark core then I defy you to not like this.

Omnizide – Death Metal Holocaust (Review)

Omnizide are from Sweden and play Black Metal with a hint of Old-School Death Metal.

The band favour the type of Black Metal riffery of older Dark Funeral or Marduk, (but without the all-out speed of some of their assaults), combined with a Carpathian Forest feel to some of their work. Mix this with some rotten Old-School Death Metal and you’ll have a general idea of where Omnizide are coming from.

Even though the band call themselves Death Metal, and the album title has it in its name; this is still predominantly a Black Metal release for me. A lot of the riffs, the production and sound, the raspy vocals, the general feel of the songs – it all has Black Metal stamped over it in large indecipherable letters as far as I’m concerned. Not that it really matters of course; all that matters is that as soon as you play this you’re instantly transported to times past and you can really feel the darkness and hate flowing into your system.

The songs rage and chew their way through the running time. Sometimes fast, sometimes slow, always reeking of antagonism and contempt. This is very authentic music. There is nothing fake or staged going on here. You can almost taste the blood on the singer’s lips as he shreds his vocal chords in the name of his art.

Overall a very good album that anyone who likes this kind of music should be able to get something from, and it just gets better with repeat listens.

Amiensus – Restoration (Review)

Amiensus are from the US and play Progressive Black Metal with plenty of melody and epic feelings.

Keyboards and other effects transform the already pronounced melodic talent of the band to another level, washing over the listener in waves of atmosphere.

Restoration skillfully blends aspects of bands such as Opeth, Agalloch and Dimmu Borgir into a talented melting pot and adds something of its own personality to the mix to avoid sounding derivative; the results of which have led to this pretty special release.

I usually find this genre of music a bit too sickly and derivative, essentially it’s easy to do but hard to do well. Whatever this magic, secret ingredient is that makes an album like this great without sounding like another clone of the aforementioned bands, Amiensus appear to have it in spades.

Meaty guitars cloaked in wistful mood and dripping with ear-candy dominate this release, while angelic vocals croon and soar alongside harsher cries and grunts. Female vocals are used to punctuate the atmosphere when needed and are a great asset to the band.

The album flows easily from one song to the next; the symphonic nature of the band working perfectly to accentuate every harmony and lamentation into a seamless whole until suddenly the 46 minutes playing time has elapsed and you’re left simply wanting more.

As début albums go this is high quality indeed and quite an achievement for such a young band. If album number one is this accomplished I can only imagine what album number two will be like.

Here’s to more in the future. You should get this.

Interview with Upyr

Bulgarian Blackened Doom band Upyr have recently released their very impressive first offering Altars/Tunnels, which is gathering them positive reviews all over the place. I was privileged to be able to grill them on the subject…

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

Brodnik: We are five mates who share the same need for expressing ourselves in the most grotesque and depressing ways the music allows.

V.B.: We are what represents the blackest of doom metal in the Bulgarian underground.

What are your influences?

Brodnik: The landscapes of our musical influences are quite vast and the borders kind of fade. If we begin with the ugliest of primitive black metal howls of Hellhammer, Bathory and the first releases of Sodom for example, pass through the mournful mists of Evoken, My Dying Bride and Tiamat, explore the psychedelic dimensions of Sleep and Neurosis and then take it south for a swamp ride with a blast of sludge to break it’s bones – that’s Upyr. The hardest part is to have all that in the bag and still make it sound simple and clear in form.

V.B.: In the cauldron we have mixed the legacy of Black Sabbath and Saint Vitus with the dirtiness of Electric Wizard and Eyehategod. Outside of music we are inspired and provoked by life itself with all its philosophical and everyday aspects.

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

Brodnik: From the recently produced albums I really appreciate Alkerdeel, Cough and Windhand. The Autopsy new album is a must! That’s what metal should be for me. Also tons of neofolk and post punk.

V.B.: Watch out! A Bulgarian band – Obsidian Sea with their debut album. Venomous Maximous, early Danzig stuff and the everyday dose of Johnny Cash.

What is the Bulgarian Metal scene like? How do you feel you fit in?

Brodnik: To talk about a strong metal scene in Bulgaria is a bit harsh. There are acts of class and original ideas but they are rather sporadic and they don’t lead to one strong core. We were welcomed very well by now. All our shows were well attended and we found bands that we share the same ideas of creating music with. That’s more than we expected. We will continue with the same passion to try and built those foundations of a scene because the audience here is very well educated, demanding and most of all deserving.

V.B.: Ok, Bulgaria is a former “communist” country and the iron curtain was no shit. The metal and the whole rock scene as a whole were almost forbidden and rather marginal till the early 90’s. That has had it’s effects on the forming of any kind of scene unfortunately. There is enthusiasm but it’s still hard for a Bulgarian band to expand its fanbase outside of the country.

What were your motivations to create this release, and why this style of music?

Brodnik: I’ve dig in almost every extreme and provoking genre of music and I had my share of playing in different bands but since I was a kid I was looking for something specific and with each next album and knowledge I’ve got, it was becoming clearer what it holds. You know that feeling. When I found doom metal, and especially depressive doom metal I felt like home.

V.B.: That’s the genre that unites us in this band, no matter of our different backgrounds. The right moment had come and we recorded, mixed and released the demo in the most natural way.

Brodnik: We released our first songs quite early in our time as a band because we needed a kickstart. Also I believe that releasing music no matter on what format is the most important part of the life of a band. That’s what remains in time, that’s the evidence of what you felt together in a certain period of time.

Altars/Tunnels is an extremely strong first release – how did the songs come about?

Brodnik: They came out almost by themselves, just after a few sessions of playing together. There are no newbies in the band and that also helps to achieve exactly what’s inside you.

V.B.: We never start with the idea of creating a certain type of song. It all begins in the rehearsal room with a riff or idea, then it turns into a jam, till we get the right pulsation of the upcoming song. We let our souls do it instead of our brains.

What can you share about the meanings behind the songs?

V.B.: The lyrics are all written by Brodnik and they are deeply emotional. ”Hymn to Pan” is inspired by the original text of Crowley and I don’t think that’s a big surprise when you listen to our music.

Brodnik: They are profoundly emotional and true to my being. It’s an enormous amount of suffering implemented in the lyrics and the way I express myself through various vocal techniques. I try to create a world within the world, but the epicenter of it is the really messed up mind that I own. “Before the Altars of Necrotic Karma” is about the never-ending feeling that we’re doomed and we’re not meant to reach happiness, freedom or any kind of a conclusion or meaning for our existence. “The tunnels of my Sleep” is about my expanding problems with sleeping, I have insomnia that can last 4/5 days and cycle every second week, It’s really a different state of mind that you get into…

How did the recording process go?

Brodnik: The others recorded the first two songs live in a cheap studio for about a few hours, after that I recorded the vocals and we spent some time in the mixing room so we can get exactly what we wanted from the sound. The bonus song that’s only on the cassette release is a rehearsal jam of the dirtiest kind and sounds more like a demo.

V.B.: We should not forget that it’s a demo release. A friend of the band helped us with the mixing with great dedication and that brought the raw live material to another level without killing its punch.

Are you pleased with the end result of Altars/Tunnels? Would you do anything differently next time?

Brodnik: I’m pleased that we put out the songs in a release quite fast because that’s what matters. I believe that the magic of it is you can’t touch it when it’s out. I’m not a fan of reissues or remastered albums.

V.B.: I’m completely satisfied with the end product. There’s a lot of atmosphere. Nobody knows what it’s going to be next time but for sure the production will serve the music.

What does the future hold for Upyr?

V.B.: 2014 started more than well for us. The cassette release by Serpent Eve Recs. is already sold out in just a month and the guys from the label are working on a second edition due to the big interest. The reviews were really flattering for us and we will give our hearts to have a great 2014 year together.

Brodnik: We have two shows in February with KYLESA (USA) and TURBOCHARGED (SWEDEN), then we will take a short break and we will come back in April with a surprise. We plan some shows outside of the country too. Thank you for your interest!

Thanks!

Legions of Crows – Stab Me (Review)

UK band Legions of Crows play Sludge Metal with a Blackened outer layer.

This brand of Blackened atmospheric Sludge is greatly enhanced by the presence of keyboards and other effects, which add a layer of depth to the already thick torrent of misery peddled by Legions of Crows.

They also have an ear for a good riff, the effect of which is never to be underestimated. Second track Fellating the Lamb is a great example of this; it crawls along for the most part sounding really sinister and malevolent, with Black Metal shrieks burning over the top of it. Unexpectedly it then rises above the fog into a mid-song gallop with a guitar solo, before inevitably waning, slowing down and falling back into the murk with dying wails. Great stuff.

That’s one of the most enjoyable things about this album – they have plenty of variety and a grasp of mood and songs to envy.

The combination of Gothic keyboards/Black Metal influences and filthy Sludge may not appeal to everyone. Most bands who combine Black Metal and Doom usually do so from the point of view of the harsher, dirtier side of both genres, making the melding of sounds easier as there is less distance to traverse. Legions of Crows however choose the path less travelled and combine the filthy, dirty side of Sludge with the more Gothic side of Black Metal. The overall result of course is bound to still sound on the grim side, but the keyboards have largely avoided the corruption and the juxtaposition of both is a pleasant surprise and largely works in the album’s favour.

Interestingly Paul Di’Anno also makes an appearance on the album, which in keeping with a lot of Stab Me is an unexpected turn of events, but a good one.

The recording is functional and does the job, and I’ve certainly heard worse, but I would prefer the drum sound to be slightly more hard-hitting next time. This is only a minor quibble though, as the sound serves the album well enough.

A very interesting release with plenty of individuality and character. I’ll certainly be listening to this quite a bit more and watching what they do next.

Ritual – The Resurrection (Review)

Here we have some Black Metal from the US in the form of Ritual.

It starts off all plinky-plinky, (a technical term), before the drums start and then a mournful guitar sweeps in. It’s an unexpected entry into the album as I was ready for a more traditional blastbeat-heavy entrance, (probably after some perfunctory intro), so this was a welcome change of pace.

This is early 90’s-style Black Metal with a sorrowful NWOBHM edge to it, and highly enjoyable it is to.

The vocalist is full of passion and has a good set of lungs which he uses to scream praises of evil and hate. The vocal rhythms fit perfectly over the mid-paced riffs and the songs are simple but effective.

Short songs with good composition rule the roost and melodic guitars slip easily into the ear.

This is an easy album to listen to; the scything, razor-edged vocals and the Black melodies dripping with scorn and melancholy create an enjoyable listen. Recommended.

The Lion’s Daughter & Indian Blanket – A Black Sea (Review)

I’ve been following The Lion’s Daughter for a while now and enjoyed their previous outings into the world of Blackened Sludge, so when I found out they were collaborating on an album with Folk group Indian Blanket I was intrigued.

I wasn’t sure what to expect upon pressing play, but it wasn’t this. I though it might be good, but this? This is a jaw-droppingly stunning album. In much the same way that Panopticon successfully incorporated bluegrass into Black Metal on their album Kentucky; The Lion’s Daughter and Indian Blanket, against all odds, have managed to successfully incorporate Folk into Sludge. The results are as astounding as they are fantastic.

If only I had heard and reviewed this at the end of 2013 it would probably have topped my end-of-year list I can tell you that now.

The album combines heaviness and softness in equal measure, using the best tools for the job depending on the needs of the song. Regardless of style it’s always dark, always emotionally charged and always tinged with melancholy.

Sludge Metal and acoustic passages; blast beats and strings; raw-throat shouts and delicate crooning; it’s all here. Taking the very, very best bits of bands like Neurosis, Isis, Year Of No Light, Agalloch and Wolves in the Throne Room then combining them with haunting Folk-inspired orchestration and Dax Riggs-style acoustics and vocals; this is a masterpiece of music awaiting discovery by any Metal fan looking for the best in unconventional heavy music.

To the cynical reader this may all smack of hyperbole, but the simple fact is that I absolutely love this album and it really is just that good. Do yourself a favour and get it immediately.

Absolutely brilliant.

Root – Viginti Quinque Annis In Scaena (Review)

Coming from the Czech Republic; Root play Black/Dark Metal and this is a live album spanning the band’s 25 year career.

The songs are veritable feasts of riffery that show the origins of Black Metal and darkened Thrash and are used effectively to create highly enjoyable Old-School Metal. Well-written songs in the hands of veteran Metallers was always going to end well.

The vocals are experimental, playful, varied and above all commanding and powerful – this is a singer who knows exactly what his voice is capable of and revels in showing off its abilities. He lends a very unique sheen to an already strong musical passage.

Boasting a raw yet clear and dynamic sound; this live album really makes you feel part of the show. More than just a recorded document it allows the songs to breathe and flex their considerable musical muscles and expand into your head so that you can feel the blood, sweat and passion exuded by the band.

A lot of live albums fall short of the mark for me, but this one does everything it is meant to do. As an overview and celebration of Root it’s just a great performance.