Progressive Black Metal – Page 17

In Cauda Venenum – In Cauda Venenum (Review)

In Cauda Venenum are a Post-Black Metal band from France and this is their début album.

Consisting of only two tracks, each lasting a touch over 21 minutes in length, this is an ambitious release that makes good use of the longer playing times to explore darkened themes and Blackened music.

Post-Black Metal is such a rich sub-genre that has so many opportunities to impress, and In Cauda Venenum take advantage of all of these.

The band play harrowing Black Metal that’s epic in scope and spiced up with enough Post-Rock/Metal elements to claim the Post-Black Metal tag as its own.

The music is masterly crafted and very atmospheric. Blackened riffs and blasting drums meet introspective restraint and Progressive explorations.

Both songs are very well written and it’s clear that a lot of time and effort has gone into their composition. Dynamics, pacing and mood have all been carefully considered and the end result is 42 minutes of elite Post-Black Metal that in many ways skirts the best that both genres have to offer.

The vocals are of the ultra-high, almost-static variety that work so well with Atmospheric Black Metal.

The recording is a quality one with the guitars in particular having a good tone. A clear, powerful sound gives the drums plenty of strength and as a whole the production strikes the right balance between underground ice and polished darkness.

As I say; in addition to the vocals and drums though, I do particularly enjoy the guitars on this album. They have the requisite Blackened bite and melodics in spades but they also benefit from being heavier than the norm for the style and employing some choice riffs throughout the songs.

A hugely impressive release. In Cauda Venenum have produced two remarkable songs of high Blackened art.

Top work.

Maahlas – Nightmare Years (Review)

Maahlas are from Norway and this is their début album. They play Melodic Black Metal with a progressive edge.

Well, this wastes no time in making an immediate impact on the listener with its blasting melodies and sharp vocals. It’s dynamic and bright, with lots of colourful leads and atmospheric flourishes.

This is quite a varied mix within its sub-genre as it contains elements of Atmospheric, Melodic and Progressive Black Metal all rolled into a very well produced album.

Maahlas manage to show very early on that they can play in a very aggressive manner as well is also being able to demonstrate subtlety and nuance. This largely manifests itself through the inclusion of lighter and more sensitive moments that are littered around the album’s blistering Black Metal. This is further enhanced by more Progressive and Atmospheric Black Metal elements.

Nightmare Years boasts a heady combination of the above and results in an album that sounds very accomplished. The musicianship is tight and the riffs are inventive and interesting. There are lots of great additional enhancements and ideas dotted throughout these 11 tracks and it’s an easy album to digest and enjoy without it becoming too staid or formulaic. It’s not an easy line to walk but the band do it naturally and with ease.

Each song is well-written and delicately masters the trade-off between aggressive tendencies and more restrained, considered influences. Clearly the band have a natural talent for this and their passion and personality shines through.

The vocals are very well delivered, with the singer alternating Blackened shrieks with deeper growls and everything in between. It’s a strong performance and crowns the music like a dark jewel. Unexpected clean vocals also appear on the fourth track and add yet another string to their bow.

Nightmare Years is a stunning victory of a début album. I look forward to getting to know this album even better over the coming months and years; it’s already made a big impression on me and I think this one is very firmly a keeper.

Ars Moriendi – La Singulière Noirceur D’Un Astre (Review)

Ars Moriendi are from France and this is their third album of Black Metal.

This is atmospheric and creative Black Metal that makes a left-of-centre entrance under the guise of some form of slinky lounge lizard whilst retaining a core of darkness so you know you actually are playing the right album.

When the Black Metal truly kicks in though it’s noticeable and memorable. Propelled by interesting riffs and subtle but meaningful effects the music is stimulating and diverse.

The vocals are Black Metal croaks that have some personality to them and the singer appears to have a good range to his voice rather than staying too monotone.

Long songs allow for plenty of variation around the central theme and the band allow themselves the luxury of exploring and developing the soundscapes they create.

Progressive Metal elements make appearances here and there, adding character to the songs and increasing the listener’s depth of appreciation for the tracks.

The production is low-key and surprisingly warm and organic for a Black Metal release. The adds another facet to the album and the songs are very easy to listen to and enjoy; the music is warmly absorbed like a fine wine.

This is a quality release from a band who are likely to be overlooked by many. Don’t make this mistake – give Ars Moriendi your full attention.

Leather Chalice – Luna (Review)

Leather Chalice are from the US and this is their latest EP.

One track, almost 16 minutes in length; this is a heady fusion of Black Metal and Post-Hardcore.

Luna starts off with samples and noises before slowly introducing the drums and a lightly strumming guitar. Very soon we’re into shoegaze lo-fi territory with the band tentatively picking their way along to a backdrop of strange and unusual sounds.

This abruptly changes to a 70’s inspired piece that has some lovely rumbling bass and emotive guitars. The vocals also start and we’re treated to some real throat-shredding screams.

The guitars have a nice 70’s Progressive feel to them and the whole thing feels analogue and very down to earth. Lo-fi this may be but it’s rich in content and feeling with the band exploring their chosen path with passion and verve.

I love that you can hear the bass and it adds a lot to the song rather then just being under-utilised as in most bands.

As the song progresses things get more upbeat and venture closer to raw Black Metal while keeping the overarching theme of the track intact.

The quasi-Industrial sounds are brought to the fore once more two thirds of the way in before blasting off again for the final run.

I could listen to this kind of music all day. There’s something very honest and open about music which on one hand seems like it has been thrown up quickly and is only held together by the thinnest of threads, whilst on the other hand feeling timeless and like it will undoubtedly endure for a long time to come.

Take a chance, lift the Leather Chalice up and take a good hard listen.

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.

Paramnesia/Unru – Split (Review)

Paramnesia are a French Black Metal band and their half of this split is a track enigmatically named III.

This is epic, searing and mystical Black Metal with some atmospheric Post-Metal/Doom sections included in the 15 minute play time. If you think of Black Metal such as Deafheaven you’ll be in the right area stylistically.

The song is very well laid out and evokes the appropriate feelings of Blackened tragedy and remorse. The sound, and in particular the drum sound, is flawless and allows the song to shine brightly.

Unru are from Germany, play Black Metal and they contribute a song called Die Welt in der wir sterben to this release.

Unru’s offering is a real mood-builder, with melody and Post-Metal influences tempered against the harsh, icy Black Metal core. The anguished vocals slice through the music and as with Paramnesia’s track the sound is first-rate and everything flows perfectly.

The song is almost 13 minutes of involving and caustic Black Metal that draws the listener in and holds attention.

A top quality release from two top quality bands. I can’t see any reason why you shouldn’t get hold of this Split straight away. Do it now!

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.