Black metal – Page 234 – Wonderbox Metal

Forlorn Path – Man’s Last Portrait (Review)

This is the début album from US Melodic Doom/Black/Death Metallers Forlorn Path.

For a début this is well-written, ambitious and implemented with a skill a lot of bands would envy.

Melodic and orchastrated, yet still having an intensity born of pure Metal this is more aggressive and outright better than I was expecting. From the name and album cover I thought I would be hearing a second-rate Gothic Death Metal Paradise Lost clone, but thankfully my hasty pre-judgement was incorrect, and instead we get epic, expansive, symphonic and melodic Blackened Doom of the highest quality.

At just over an hour in length a lot of passion and work has gone into this album to create a journey that you can get your teeth into.

The vocals alternate between a Black Metal rasp and an ultra-deep growl that is just a pure pleasure to experience.

The forlorn atmosphere and rich melodic melancholy combined with an more aggressive assault than a lot of bands of this genre attempt means that the album always entertains and for me is up there with recent melodic Metal greats like Amiensus.

A refreshing and surprising album; I’ve had my expectations completely surpassed and it’s an abject lesson to me that you can’t judge a band by their name or their artwork. What matters, all that matters, is what they sound like, and Forlorn Path sound very good indeed. Highly recommended.

Zud – The Good, The Bad And The Damned (Review)

Zud come from the US and this is their début album full of Black Metal played purely on the band’s own terms.

After a perfunctory intro the first thing that strikes me is their use of a long, winding guitar solo. Now I like a good guitar solo anyway, but Black Metal and guitar solos are not things that are normally associated with each other, so straight away we have a pleasant surprise.

After this promising start the band continue to deliver with Old-School Black Metal mixed with Southern Rock and even a dash of 70’s Prog. The songs are played at length and with belligerence, bluster and melody.

The riffs have character and swagger, seemingly jumping out of the speakers to kick you in the shins. There is a definite Blues-y, Rock-y air to the riffs; almost feel-good Stoner Rock combined with the nihilistic core of Black Metal. The melding of the two genres comes across differently in Zud’s work to how it does in, say, Glorior Belli; while the latter have a more overt approach to mixing the styles, Zud somehow manage to make it seem a more natural choice and the combination is seamless.

The singer spits his lyrics with character and personality. His voice is a non-standard Black Metal rasp; in fitting with the out-of-the-ordinary music Zud have a vocalist that embodies the unconventional approach that they take and is the perfect mouthpiece for the band.

They’re even on to a winner with the production; it’s dirty enough to be authentic but clear enough to allow the songs to do their thing. Top marks.

Favourite Track: Skull Shaped Bell. A microcosm for the album as a whole; it combines rawkus riffing, laid-back noodling and attitude to spare.

Like the aforementioned Glorior Belli this is a band who are daring to do something different; daring to go their own way. In a cesspool of mediocrity and Darkthrone-clones they embody the unfettered spirit of Black Metal far better than many of their so-called peers. An exceptional release.

Northern Plague – Manifesto (Review)

Northern Plague are Polish and play Blackened Death Metal.

Poland has a high quality pedigree when it comes to Death Metal, and Northern Plague do not let the side down. They play scathing Death Metal with a Blackened sheen; the vocals in particular are more Black than Death.

The guitars have a strong Death Metal focus, with some influence from the Black Metal side of things showing now and again. The song writing is exceptional and the feelings of depth of mood the band evoke is truly something. It’s a very satisfying listen. Brutal yes; but subtle also.

The musicianship all-round is top quality, and I should point out as well that there are some lovely solos and leads on this album. Exquisite.

Each song seems to slide out of some alternate reality ready to strike with a prolonged barrage of attacks. Once the target has been subdued it then slithers off back through the cracks in the world to wherever it came from.

This is an album that should be high on your list of wants for 2014.

Culted – Oblique To All Paths (Review)

Culted comprise of members in both Sweden and Canada, (who apparently have never met), and this is their second album of Blackened Doom Metal.

This is an hour of haunting depression and wandering desolation.

This album combines aspects of Doom, Black Metal and Sludge to create a bleak atmosphere and feeling of slow decay. An aural description akin to a gradual slipping away into who knows where; a place of fear to never return from.

You know a band means business when a 19 minute monolith of a song, (Brooding Hex), is their opener. It also works as an abstract for the album as a whole as it surmises all areas that the full album travels to within its forbidding boundaries.

There is no clinical, sterile recording on this release; instead we have a dark and foetid sound, full of shadows that hold spawning grounds for unspeakable strains of mutant bacteria and other unpleasantness.

The rasping vocals are rooted in Black Metal, and they sail the seas of Blackness on the good ship Doom. Continuing the nautical theme, (for no good reason really), this is music to drown to.

The wide range of sounds and instruments used on this album means that this is a diverse and experimental release. It’s an interesting path that the disparate band members have collectively chosen to tread, one which carries great risk but which promises great reward in turn. I heartily invite you to sample the dark delights on offer here. But be warned – there’s a danger you might not come back.

Hangatyr – Elemente (Review)

Hangatyr are from Germany and play Black Metal rich in melody.

Appearing out of the mist like a creature from some long-forgotten Germanic myth; Hangatyr prowl and stalk their prey with a surety born of ancient times.

This is cold Black Metal; born of the frigid wastelands and honed in frozen storms. Each song drags you deeper into the world of frost and ice, struggling for air as your lungs fill with needles of pure winter.

This is an extremely well-written album that reminds of the masters of the genre while simultaneously sounding as fresh as if it was straight out of the frozen tomb. The guitars may be chilled but they describe a rich tapestry of texture and ancestry. Hangatyr are clearly aware of and living up to their Black Metal heritage.

The vocals are watery shrieks, as if they have newly thawed and are breaking into the light for the first time in millennia.

The sound is great, the mood is great, the songs are great, it’s just a great album. A wind-scarred revelation.

Endemise – Far From The Light (Review)

This is Canadian Death-infused Black Metal from Endemise and this is their second album.

The band combine the heaviness and brutality of Death Metal with the Blackened atmosphere and symphonics of a band like Dimmu Borgir. Alternatively; imagine a band like Behemoth; now tone down the Death Metal and increase the presence of keyboards – you’re now in the right area that Endemise inhabit. Bands like Alghazanth and Gloria Morti are also good examples.

The songs manage to weave in between these two genres with ease, although they stray mainly into Black Metal territory for most of the album. They might be blasting away full of fury before a keyboard flourish changes their tack and all of a sudden they’re going all grandiose and orchestrated.

True to the rest of the album the vocals fluctuate between high-pitched shrieks and lower growls.

Although a little rough around the edges in places this is an enjoyable album with a few really good moments that they can build on for the next release.

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.