Enthean are from the US and this is their début album. They play Black Metal.
This is progressive, technical and symphonic Black/Death Metal. It’s a bit of a mouthful, but then this is a band who have a lot of different influences. I hear bands like Zyklon, Dissection, Emperor, Dimmu Borgir, Septic Flesh and Fleshgod Apocalypse in their sound.
Continue reading “Enthean – Priests of Annihilation (Review)”
This is the second album from this one-man US atmospheric Post-Black Metal band.
This has a rich, warm sound, making it clear very early on that Entropy is all about the emotive content and taking the listener on a journey.
High-pitched near-static screams are employed to provide a focal point for the colourful music. I favour this brand of ultra-shrieked screams for this kind of extremely atmospheric Black Metal, so was not disappointed to hear them when they first appeared. Deep growls also appear here and there; these are unexpected but work well alongside the mellifluous music.
These songs have a good grasp of mood and feeling, effortlessly played out across long tracks and glorious soundscapes. This can be essentially seen as one 72 minute piece of music broken up into smaller slices, but however you look at it it’s an extremely effective work.
Featuring elements of psychedelic, progressive and depressive Black Metal, this is very atmospheric and richly textured. Resplendent melodies, extended guitar solos and understated synths all enhance the flavour of the emotive riffs and Entropy is an album to be savoured and enjoyed in its entirety.
I’m very impressed by this, and it’s criminal that this will effectively get no real exposure other than a few lucky people that stumble upon it; it really is that good.
Old Forest are a Black Metal band from the UK and this is their third album.
This album features four long songs and a fair amount of variety across the 48 minute playing time. The band play Atmospheric Black Metal that has a contemporary feel with nods towards the Pagan, Folk, Gothic, Depressive and Progressive sub-genres of Black Metal.
These additional influences make their presence felt during the tracks and manifest in different ways, from exploratory sections, to enhancing cleans, to Folk instrumentation, subtle synths, and more.
It’s a hugely impressive demonstration of musical ability and songwriting skill; even only a couple of minutes into the first track Morwen, with its Doom-laden intro and understated-yet-powerful cleans, you know this is going to be a special release.
The songs have a lot of content, all contained in a modern Black Metal wrapping and serviced by a recording that’s meaty enough to do the material justice without loosing its Blackened lustre.
The emotive guitars do everything requested of them with ease, whether this is playing fast, slow, or even at a good rocking pace. The guitars serve as a bedrock for the other instruments to be built around, both the standard ones such as the drums and bass, and the non-standard ones that serve to add so much additional atmosphere to the tracks.
Vocals are as varied and interesting as the music; Blackened screams, Gothic cleans and lots in the middle.
Old Forest have produced a very gratifying release that manages to successfully combine old and new into a cohesive atmospheric package. Dagian is impressive, emotive and destined for a lot of positive feedback I would imagine.
For any fans of expressive Atmospheric Black Metal.
This is the seventh album from Norwegian Black Metallers Kampfar.
Kampfar play Black Metal with speed and melody, drawing the listener in and then slicing at them with hidden blades.
Serrated screams and powerful cleans are both used to great effect on this release. The screams provide the focal point as they are meant to, while the cleans add an emotive enhancement to the songs that works really well.
Kampfar incorporate influences from both Melodic and Pagan Black Metal into their sound, as well as Progressive Black Metal elements akin to, (but not as pronounced as), a band like Enslaved. This results in songs that have a characterful epic feeling to them in addition to the razor sharp edge of Blackened aggression that they foster so well.
The songs are well-written and played, with lots to keep the interest of the listener. Some of the guitar melodies are particularly compelling and taken holistically there’s a grand amount of atmosphere contained on this release.
Highly recommended.
This is the début album from Black Metal band Terzij de Horde, who are from the Netherlands.
This is modern Black Metal that combines sophisticated music with high-concept ideas.
Black Metal’s intrinsic rage and fury is combined with elements of Progressive/Post-Black Metal to create an engaging release that is varied, intelligent and full of Blackened mood and feeling.
The riffs are interesting and varied, screaming out of the passionate music like rabid animals. Sharp and emotive, these are combined with more introspective moments to create something that is worth exploring over the near-50 minute playing time.
The singer’s voice is full of snarling anger and ugly malice. It fits the music perfectly and has a maniacal quality to it that wouldn’t be out of place on a savage Grindcore release.
Self is not your average Black Metal release, and if you’re only looking for more of the usual then simply move along to something else. If, however, you’re after Black Metal fit for 2015, full of spite and Black emotions, then this is the release for you.
Splendid.
This is the third album from US Progressive Black Metal one-man group Terra Deep.
The music on this release is a complicated and sophisticated Progressive Metal feast that’s born out of the corrupted undergrowth of Black Metal’s fertile roots. Progressive and Post-Black Metal elements take control of proceedings quite early on, reinforced by a dark core of frozen steel.
Deep, unsettling growls, evil shrieks and powerful cleans all add a multitude of texture and feeling to music that successfully combines the cold malignance of Black Metal with the expansive, exploratory nature of Progressive music. This is further enhanced by elements of Doom/Depressive Black Metal that add a forlorn, lonesome sheen to some of the tracks. It all adds up to a multifaceted release full of quality music and songs that engage.
Richly textured tracks seem to bleed shades of pain and grim tidings, while still fostering a highly emotive side that connects with the listener in a visceral way. The songs are advanced exemplars of what can be done with a Black Metal base and a will to explore.
The production is solid and allows the music to hit the right balance between heaviness and nuance. It’s a good sound that satisfies and does justice to the differing parts and influences that make up Part of This World, Part of Another.
These five songs are impressively-realised affairs that speak of the experience and talent of the brains behind the outfit. He obviously has a coherent and well-rounded vision for Terra Deep and has the ability and skill to achieve it.
If you combine Opeth, Enslaved, Forgotten Tomb and Ihsahn then you’ll have a good idea of Terra Deep’s style.
There really is a lot here to offer the discerning Extreme Metal fan and I can’t really recommend this highly enough.
Arcturus are a Norwegian Avant-Garde Progressive Black Metal band and this is their fifth album.
This legendary band finally make a return with their unique and charismatic take on Metal. This is 48 minutes of extravagance, style, class, eccentricity and outright esoteric musicality. The level of skill and talent involved in a release like this is staggering really, when compared with the average band. But then Arcturus have always been outliers.
This album is somewhat of a blend of their earlier and later work. It’s more accessible than the pure theatricality of La Masquerade Infernale, but less cautious than Sideshow Symphonies; the result is an album that takes the right amount of cues from both.
Arcturian is a perfectly judged melting pot of disparate influences that balances them all off against each other in a coherent-yet-varied way. From blast beats to orchestral oddness and everything in between, this is highly-textured and richly evocative music that’s not afraid to pile on the layers of atmosphere and feeling. The songs have depth, dynamics, pacing and personality.
As a focal point, we have the amazing voice of the singer. He has always been one of my favourite vocalists, no matter what band he has been playing in, and on Arcturian he excels in every way. Boasting one of the most distinctive and powerful voices in Metal, he complements the expansive and nuanced music with a strong presence and commanding performance. Hot stuff.
I’m extremely pleased to say that Arcturus’ first offering in a decade is a resounding success, at least with me it is. Music is highly subjective and a lot of people just won’t ‘get’ this, (more fool them), but for those that do, this heralds a wondrous homecoming. Arcturian is a return to form after their last album, (which was good, but lacking that something special that their other work had), and an album to listen to and absorb over and over again.
An important release.
Dalla Nebbia are a Progressive Black Metal band from the US. This is their second album.
This is sophisticated Black Metal that incorporates elements of the Progressive and Atmospheric sub-styles into itself, as well as some Doom/Death elements here and there.
Featuring an added violinist on most of the tracks, this is expansive and exploratory music that may have a firm base in Black Metal but refuses to be constrained by its traditional trappings.
The band are clearly talented, imaginative and ambitious, which is a fine combination. Dalla Nebbia are the kind of band that brings influences from some of the best aspects of Emperor, Agalloch, Opeth, Arcturus, Windir and other similarly lofty bands together into one place and then makes them their own.
The songs have a high emotional content that seems to come naturally to the guitars. The tracks aren’t simple, straightforward affairs either, so this rich, emotive quality is even more impressive. Background synths and effects add a further layer to the variety of riffs and melodies used, with the intention of everything being to take the listener on a Blackened journey into the dark places of the world. With Dalla Nebbia as your guide, this is a trip worth taking.
Mainly propelled forwards with traditional Blackened screams; cleans, growls and other vocalisations also appear and reinforce the impression of a varied and interesting band who are happy to do things their own way.
This is a varied release that covers a lot of ground. It’s not something that can easily absorbed in one listen as there’s a lot going on here; each spin brings something else to your attention, and there’s a lot of quality content to notice on Felix Culpa.
Very impressive and very enjoyable. Make sure you look out for this one.
This is the début album of Icelandic one-man Black Metal project Show Me Wolves.
So, this is a little different. Here we have Progressive Black Metal that takes elements of both Old-School Black Metal and cutting-edge Post-Black Metal as well as, believe it or not, bits of modern Metal here and there. Okay, so on paper it sounds a mish-mash of genres that normally never meet, but when you listen to it it does all make sense. For the most part, anyway.
Black Metal with a modern, Progressive flavour is the main order of business, but there’s a good deal of other stuff going on here. The modern Metal influence is not as jarring as it first might seem, as in reality this mainly means the Progressive Black Metal is added to by some stirring, upliftingly bright melodic guitars that serve as an icing on top of a Blackened cake. Think the types of melodies used by bands like Killswitch Engage and the like, only Blacken it up some.
It’s an unusual route to take but it works well due to the coherent delivery. Ultimately, this is Post/Progressive Black Metal that’s modern and forward-thinking, yet retains an atavistic violence at its core.
The vocals are harsh screams, unyielding in their extremity and a definite counterpoint to the largely shiny, resplendent music. He sounds angry, and I like that. Clean vocals also appear occasionally, lending a despondent, lonesome edge to things.
Before listening to this, the low-rent album cover led me to believe I was in for some Old-School Darkthrone clone, but I was quite wrong. Between Man, God and False Idols has impressed. It’s not perfect, but it’s better than a lot and shows massive promise.
One to check out, for sure.
Animus Mortis are a Chilean Black Metal band and this is their second album.
This is an intriguing blend of Progressive and Post-Black Metal that lasts 40 minutes and makes a very good impression. It’s Black Metal for the modern age, taking influence from the aforementioned sub-genres to add to their Blackened pot, creating something unusual.
This sits nicely alongside albums from bands like Entropia, Thaw, Outre, Hope Drone, Tempel, Decline of the I, Wayfarer, Deafheaven and many others that play Black Metal with a non-standard spin on things. Bands such as these take up the mantle of Post-Black Metal, (willingly or not), to expand their musical horizons and add to their Blackened palette.
Chants, screams, growls and all manner of other vocalisations are used to great effect to provide a rich vocal performance. These are multifaceted and varied, allowing the singer ample avenues for exploration and experimentation. Wailing, shrieking and moaning torment appear to be his choicest methods of delivery; these are frequently layered on top of each other to create a nightmarish juxtaposition against the more resplendent music. I imagine it could be somewhat of an acquired taste for some people when confronted with his style, maybe rather preferring the more standard screams that appear less often.
The music is highly emotive and has an understated epic feel to it. It has a heart that’s twisted and warped though, kind of like Deathspell Omega with added Shoegaze. The music can be quite beautiful, with uplifting sections as well as parts that are more barbed and dangerous. The vocals supply the main ugliness and horror to the music, with the singer frequently sounding inhuman or possessed, adding a disturbing aura to the songs.
This is a compelling release due to the fact that it attempts to do something a little different from the norm and largely succeeds. The ubiquitous blast beats, the gleaming guitar melodies and the corrupted vocalisations all merge together to produce something greater than the sum of its parts.
This is music to become entranced by. Let Animus Mortis lift you up and help you explore the less-travelled paths that they wander. It may seem a daunting proposition, but it’s one that’s worth it.
Wonderbox Metal 