Black metal – Page 235 – Wonderbox Metal

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!

Frozen Dawn – Those of the Cursed Light (Review)

Frozen Dawn are a Spanish Black Metal band with a penchant for all things Swedish.

The band are influenced by bands such as Watain, Naglfar and Dissection, and as such the guitars are scything and icy, with the vocals as sharp as a barb and a solid rhythmic underpinning.

Frozen Dawn have a good grasp of melodics and the tunes melt through the hands like thawing snow.

A lot of these songs are surprisingly catchy; tracks like Blackened March have infections guitar riffs and Blackened grooves to die for. This is a theme repeated throughout the 53 minutes of this enjoyable album.

The band ably create the atmosphere of a Blackened winter’s day, with ice crystals as far as the horizon.

A good album, and recommended. Give them a listen.

Helmsplitter – Enraptured by Suffering (Review)

Helmsplitter are from the US and play a filthy blend of Black and Death Metal.

Boasting a powerful sound the band waste no time in attacking everything around them with fierce blasting and razor sharp Blackened riffs.

The band’s songs combine many different aspects of Metal; predominantly Black and Death, but also elements of Sludge, Thrash and Crust. This means that we end up with a very dark, dank album that has the darkness of Black Metal, the brutality of Death Metal and the songsmithing of classic Metal.

There are catches and hooks aplenty in these songs, all delivered wrapped in barbed wire and with snarling vocals. The band know how to write an enjoyable song and vary tempos, styles and delivery to suit their nefarious needs.

There are stand-out moments in pretty much every song. Some examples; Panzram is the shortest song on the album and has blasting and belligerence written into its DNA; Aura of Suicide has a Hellishly good groove-based Darkthrone-esque riff that’s enough to blow away all-comers; The Ground Bleeds Sorrow piledrives along before splitting off into rumbling psudo-Southern groove; the list could esily be expanded to all 11 tracks here.

44 minutes of quality, well-written Metal; enraptured by Helmsplitter.

Invertia – Another Scheme of the Wicked (Review)

Invertia are from the US and play Industrial Black Metal.

This is a release of two halves – the first five tracks are the album songs, and then the second five tracks are the album songs remixed. Side A and a Side B if you like, with Side B being longer than the first.

This is inventive and oppressive as only the best of Black Metal can be.

As extreme as this is they still know how to write songs. As warped and twisted as they are, and also know a good hook when they hear one.

The heavy effects, samples and noise conspire with the Black Metal core to create a claustrophobic and dense listening experience that coils around your brain and won’t let go until you have sworn blind fealty and obedience.

The tracks offer a bruising Industrial pounding with their blackened atmosphere, and there is a fair amount of variety on these tracks that it almost seems like different bands playing sometimes. It certainly seems like they have about five vocalists. Don’t mistake this as criticism though, this is a top release.

And all this is even before we get to Side B; the remixes.

I’m not normally a fan of remixes, as they are rarely done well, (in my experience). Here is an exception though as these reinterpretations of the originals feel like a continuance of the album and a further exploration into the dark psyche of the band, rather than being some novelty just tacked onto the end of a release, as is so often the case.

Intriguing, harsh and exciting; this is an album to keep returning to.

Aurora Borealis – World Shapers (Review)

Aurora Borealis are from the US and play Black Metal with a Death Metal influence. This is the sixth album from this underrated veteran band.

I’m already a fan of this band so was eagerly looking forward to getting my grubby mitts on this one. Aurora Borealis have always been one of those band who have managed to be brutal, melodic, extreme and catchy all at the same time, and this new album of theirs is no exception.

The drums speed by like carpet bombs going off and the guitars are as razor sharp as always.

The vocals are harsh croaks that sound way better than they probably should and the vocalist always seems to come up with interesting rhythms and patterns for his voice.

The songs are no disappointment, with each one providing the riffs and melodies needed, as well us the right combination of brutality and restraint necessary for involving songs. The tracks are mainly in the 4:00-5:00 range and allow each song to develop and breathe without losing focus.

Another exemplary album of brutal Black Metal from this group of experts.

Rauhnåcht – Urzeitgeist (Review)

This is Austrian Black Metal played with style and fervour.

Harking back to the glory days of the cream of the second wave of Black Metal, Rauhnåcht evoke the same feelings of mystical grandeur that bands like Emperor and Gehenna were so good at playing back in the 90’s.

The cold Black guitars are accentuated with keyboards that are obvious enough to help steer the songs but subtle enough to not be overwhelming. They provide an intoxicating accompaniment to the other instruments.

The songs charge, stalk, slash or prowl through their playing time, depending on the kind of mood the band are going for. Rauhnåcht seem perfectly willing and capable to excel at either fast or slow sections, usually both and everything in-between during the space of a song. Due to this the shortest song is 5:56, (Urzeitgeist), and the longest is 10:08, (Rauhnachtskind).

Vocals hiss like corrosive steam escaping from a vent, reminding me of the vocalist of Naglfar in their delivery. Subdued cleans also make an appearance at select moments and these are not over-used.

I really enjoyed this album. Along with the recent release from Akrotheism this has made me very happy that there are bands out there still doing this style of non-symphonic atmospheric Black Metal and doing it really, really well.

Treat yourself to this.