Invehertex are a Chilean Black Metal band and this is their début album.
At 79 minutes in length, Invehertex don’t do things by halves it seems.
Alongside some ambient interludes, the band play raw, underground Black Metal that has a sprawling and ambitious attitude to blackened soundscapes.
Blasting, icy aggression is present and correct, alongside groovier riffs and atmospheric explorations; all wrapped in darkness and covered with malevolence.
Ordem Satânica are a Portuguese Black Metal band and this is their latest release.
Well, if this isn’t just one of the rawest, grimmest, most foul-smelling, decayed corpses of stinkingly evil Black Metal that I’ve stumbled across in a while. This should be approached with extreme caution by everyone save the hardest of hardened Black Metal fans. It’s not for the meek.
Ordem Satânica offer up 35 minutes of blasting bile and blackened atmosphere, sounding utterly lethal as they do it. Ventos de Ódio seems to have found a way to strike back to the heart of second-wave Black Metal, torturing its soul until it gives up its infernal secrets.
The interesting thing is that although I’ve probably painted this as a pretty one-dimensional release so far, it isn’t. Amidst all of the blackened chaos and cutting, frosted riffs, there’s a surprising amount of variety here; not so much that it would stray too far from the original template, but enough to keep the listener hypnotised and slaved to its dark will. Snatches of melody, reflective introspection and frozen atmospherics all get a look in, especially during the near-17 minute final track O Negro e Eterno Vácuo.
The crackling, icy production is judged just right. It’s primitive and ugly, yet somehow manages to use this to lend power to the band, rather than leech it away as some low-quality recordings can do. This is probably due to the fact that Ordem Satânica channel the pure essence of the original Black Metal style so very well that everything just fits perfectly.
If you like your Black Metal grim, necrotic and filled to the brim with raw, underground hatred, then I heartily recommend this release.
Get it while it’s cold.
This is the second album from Black Metal band Burial, who are from the UK.
Burial play raw Black Metal with speed and malice.
Pure venom seems to seep out of every corrupted pore as the band aggressively attack the material with the fervour of the fanatic. The guitars have a very pleasing tone and have that razor-like quality that suits Black Metal so well.
The songs don’t outstay their welcome, and the entire release blurs by in 31 minutes of dark, angry malevolence.
The brutality of the music is threaded through with bands of melody that add a bit of depth to the attack. Some Darkthrone-esque groove is introduced when the band slow the pace a little, and these parts are just as good a listen as their faster brethren.
Throughout the album it’s clear that Burial know how to shape and channel these kind of grim incantations, and the songs are a very enjoyable listen.
Vocally we get traditional blackened screaming which hits the spot nicely, but in addition to this there are also deep growls which are very satisfyingly performed, sounding, as they do, pitch black and evil.
I thoroughly enjoyed this. Have a listen and see if they do it for you.
This is the latest EP from Chaos Moon, who are a US Black Metal band.
Having previously enjoyed their 2014 album Resurrection Extract, this is a re-released version of their 2015 EP of the same name, with two extra tracks added on for a total running time of 44 minutes spread out over 6 songs.
Chaos Moon’s music is atmospheric and raw, with elements of Shoegaze and Dark Ambient. Theirs is Black Metal with character and a grimy, occult lustre that marks them out as something a bit special.
Obscure melodies and sinister vibes are never too far from the blackened action, and the relatively subtle keyboards are artfully hidden just the right amount behind hateful distortion, which allows them to come to the fore when the guitars are absent.
My favourite track is probably the title, (and opening), song Amissum. It’s one of the bonus tracks and is a seething mass of blackened bile and repressed atmosphere. It’s an impressive piece of music and as the newest song here it bodes well for their upcoming album.
The rest of the music here is no disappointment, mind, with the remaining songs showcasing the band’s mix of aggression, mood and blackened sensibilities. Each track has something a little different to offer the listener and taken as a whole it’s a very well-rounded package.
Overall the band’s songwriting is suitably strong, and Chaos Moon are definitely improving over time. This latest release keeps up their high quality levels and exceeds them in some ways, producing an album-length EP that is extremely enjoyable indeed.
Highly recommended.
Råttkung are a Black Metal band from Denmark. This is their début EP.
This short EP showcases Råttkung’s brand of raw, underground Black Metal across 17 minutes of hate-filled music. It’s ugly, dark and as cold as the frozen wastes.
An ultra-primitive production finds the band recalling the early days of the second wave of Black Metal, both aurally and stylistically. It’s a primitive and lo-fi recording that sounds authentic and honest, although does tend to leech a little power from the band’s songs.
The vocals seem to have been captured on the edge of a blackened abyss, with the singer screaming and growling his way into the raging winds. He sounds possessed and not 100% human.
Furious riffs and blasting drums certainly have their place on this release, but the band also know how to slow it down and use the guitars to foster a creepy, sinister atmosphere, as they notably do on the song Here Again, or to opt for a Doom-ier approach as on Abyss of Terror.
Dark Is the Beginning is aptly named and here’s hoping we hear more of this band in the future, as this is a promising start.
A one-man Black Metal act from the US; this is the latest release from Natanas, although at the prolific rate he releases material, it might not be by the time I’ve written this…
I’ve enjoyed watching Natanas progress in the relatively short time since its inception, (here, here, here and here), and it’s always a pleasure to listen to the latest horrorful dirge that the man unleashes on the world.
Eram Numquam Amicum Vestrum is a little different than previous releases. It still shares a lot of the same hallmarks, but this time it’s a bit angrier and more Black Metal. That might sound like an odd thing to say, considering all of his releases have been Black Metal, but I suppose I mean it’s a bit more traditionally Black Metal – although a lot of Black Metal fans would probably still blanch at this as his work remains on the raw, underground, under-produced side of things.
The music is Doom-laden, filth-ridden Black Metal that carries an artistry to it despite the primitive veneer that it wields like a sharp stick. The rhythm guitars somehow find a way to be mournful and rabid at the same time, while the leads add a lot of rich content to the songs and provide a pointed outlet for all of these emotions. The screamed vocals are some of his best to date; understated and low in the mix, but still totally despondently savage.
The tracks are less songs and more essays on how to channel anger and sorrow in musical form in an atavistic and cathartic way.
I think this is probably my favourite Natanas release, actually. Although I really enjoy the more experimentally dark nature of his other work, this album has more coherence and focus about it, resulting in an album that has a lot going for it. Traces of his previous work remain, of course, and these add extra flavour to the album, ensuring that it doesn’t become stale or one-dimensional.
If you’re the kind of person who gets off on raw, underground Black Metal then this is a must.
This is the début album from Black Lord, a Mexican Black Metal band.
After a rather pointless intro that goes on for far too long, we finally get to the meat of the matter as the first song erupts into life. Black Lord play underground, raw Black Metal that’s unfettered from any form of niceness.
The Blackened riffs have a Thrash influence on occasion. As well as using some dark melodies to enhance the songs, they have a loose, primitive style that nonetheless manages to gather the quintessential Black Metal darkness to it like a magnet.
The singer sounds like he’s howling into the abyss, almost independently of the music. Unhinged and maniacal, his performance is unforced and probably quite something to see in the flesh. Screams, growls, moans and chants emanate from the songs while the music charges forward with wild abandon and grim determination.
Black Ritual Forest is an expression of Blackened intent, with the band showing their passion for the style across 36 minutes.
Check them out.
Favourite Track: Spell of Darkness. Speed and rolling thunder propel the song forwards while the singer screams with spectral torment.
Here we have a split between three different one-man Black Metal projects. All bands have contributed two songs each to this release.
Nebel Über Den Urnenfeldern, from Germany, is the first to perform and offers up 15 minutes of music, longer than both other bands.
These songs have a good sound and provide emotive Black Metal with strong vocals and good riffs.
There are quite a few nice aspects to Nebel Über Den Urnenfeldern’s sound. Crisp, raw guitars, Post-Black Metal interludes, near-static screaming vocals; it all adds up to a very enjoyable 15 minutes.
The music takes the listener on a journey and covers various moods across the running time. As well as being Blackly aggressive the mood is also a reflective one.
This is my first encounter with Nebel Über Den Urnenfeldern and I have to say I’m very impressed.
Next we have Eternal Spell; hailing from Chile and contributing 8 minutes to this split.
In contrast to Nebel Über Den Urnenfeldern, Eternal Spell’s take on Black Metal is a more primitive and straight-for-the-jugular affair.
This Black Metal takes the raw template and infuses it with elements of Speed Metal and Punk to produce two tracks that kick you right where it hurts.
It’s resolutely Old-School and unreservedly underground. It’s honest, enjoyable and not lacking in charm.
Finally we have Chiral, from Italy, who we have met before, here, here and here. It’s always a pleasure to hear new work from this talented individual so a further 12 minutes of music is most welcome.
As usual it’s high quality, high calibre Black Metal that continues the development that the artist has shown so far of actually improving with every release.
This is sharp Atmospheric Black Metal that contains a decent amount of melody without blunting the strength of the attack.
The melodies, grooves and speed captivates from first listen and the well-performed vocals are authentically fierce. Both the screams and growls sound great and they help bring everything else together.
Whether playing faster or slower the songs are well-written and capture the dark essence of Black Metal straight from the off.
Another win for Chiral.
Overall this is a worthwhile split to get your hands on especially for Nebel Über Den Urnenfeldern and Chiral’s contributions, which are my favourites.
This is the third album from Black Metallers Posthum.
The album starts with an immediate display of emotive riffing and charismatic vocals. Okay, I’m hooked.
Blood-curdling screams are distinctly of the Black Metal style, but there’s something about them which gives them an edge; in the same way that when you’re listening to the singer of, say, Satyricon – there’s just something extra going on with his voice that allows him to stand apart from the hordes of other, similar Black Metal vocalists.
The riffs and dark melodies that Posthum use are a major highlight for me. There’s a lot of emotion and expressiveness going on here. You could almost class it as Post-Black Metal in this regard if it wasn’t for the fact that it’s just so damn evil. In a way the guitars share that similar something extra that the vocals have; they’re just plain better than most.
This extends to the songs themselves as well. The level of songwriting and riffcraft is extremely high. On first listen the tracks already feel intimate, but not in a bad way; not in the way that makes you think “I’ve heard all this before”. No, this is the intimacy of a familiar lover, just one that you’re meeting for the first time. It’s a slightly disconcerting feeling but a very welcome one. On subsequent listens whatever dark magics Posthum are party to worms their way into your brain even deeper and The Black Northern Ritual is a powerful beast indeed.
On the face of it Posthum do nothing different or new; this is Raw/Underground Black Metal. However, and this is where the magic lies; they play this well-worn style with some undefinable and special quality that just propels them onto a whole other level. It’s something about their songwriting that connects on a visceral level and reminds you of why you loved Black Metal all those years ago when you first heard it.
I pressed play on this album, expecting yet another decent but ultimately average Black Metal album. More fool me. What I got instead was the start of a Blackened love affair.
This album is special.
Witchclan are from the UK and this is their second album. They play Black Metal.
This is raw, underground Black Metal with more melody than you are probably expecting and more evil than you can fit into a very large box.
Sinister, inhuman vocals scream out hatred and occult messages whilst the band play at breakneck speeds.
Surprisingly thick rhythm guitars provide a powerful base for the Blackened melodies to dance over, some of which are unusually upbeat. The entire production is unusual actually, and it lends the band a definite edge over their peers as The Dark Binding just sounds different.
This is added to by the band’s songs themselves. This is not your usual Darkthrone-worship. Witchclan have a lot more personality and individuality than that.
Don’t get me wrong; this is recognisably Black Metal and no-one would think otherwise, but the sound they have and their choice of melodies and riffs…Witchclan are forging their own way through a genre that has seen it all before and they should definitely be commended and supported for this.
Rather than just echo the Black Metal greats, Witchclan put their own individual spin on things in a superb way. They have ended up producing an album that is very obviously Black Metal but with a rotten freshness that puts most other raw Black Metal bands to shame.
Witchclan court their auras of darkness and mystery with great zeal and fervour, and the hymns to fell powers that are recited on this release have all of the requisite components to engage and terrify the listener in equal parts.
If I was to sum up this album in one word, that word would be evil.
There’s Underground Black Metal, and then there’s Witchclan. This is a dark gem and a must for connoisseurs of supreme Black Metal art.
Favourite Track: Dawn of the Serpent Kings. One of the shortest tracks here, but with a brilliantly realised air of malevolence and an otherworldly martial quality. Music for a daemonic invasion.
Wonderbox Metal 