Nox Formulae are a Greek black metal band and this is their debut album.
This is ritualistic/occult black metal that combines a raw delivery with elements of the avant-garde and atmospheric.
The band take the second-wave black metal template and mutate it into something a bit more atypical. Synths and dark Continue reading “Nox Formulae – The Hidden Paths to Black Ecstasy (Review)”
Blakk Old Blood are from Switzerland and Black Devotion are from the US. Both bands play Black Metal and have teamed up for this split release, each contributing one song.
Blakk Old Blood start Continue reading “Blakk Old Blood/Black Devotion – Split (Review)”
Isolert are a Greek Black Metal band and this is their début album.
Their previous demo, Isolated Soul, was one that I enjoyed, and the song Empty Memory (Hate for Mankind) has made it from that release onto this one.
The band play Scandinavian-styled Black Metal. Since their first demo they Continue reading “Isolert – No Hope, No Light…Only Death (Review)”
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.
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.
This is the third album from Cuban one-man Black Metal project Narbeleth.
As I said about his second album, A Hatred Manifesto, this is the real deal. Here we have 35 minutes of Underground Black Metal, spreading darkness, disease and terror through all the lands.
Like the second album, this contains seven originals and one cover, (this time by Judas Iscariot).
It’s dark, icy music that sticks to the well-loved Orthodox Black Metal left-hand path and pays homage to the 90’s Scandinavian scene.
The production is sharp and clear, allowing the songs to scythe through the airwaves like a cold blade through flesh.
The songs are enjoyable and never attempt to be anything they’re not. The riffs are good and the guitars frozen in time. It’s a style that’s instantly familiar and comfortable to any fans of the genre, and on Through Blackness, and Remote Places it’s played well and with passion.
This is a release that it’s easy to like; unless you never got into the style or you’re just tired of it, you’ll find plenty to satisfy here.
This is the second release from Aegrum who are an Indonesian Symphonic Black Metal band.
This is underground Black Metal with an atmospheric element characterised by the added keyboards. Coming off like something that should have been released in 1995, De Arrival is an endearing and honest paean to lost times and old glories.
The guitars are as paper thin as anything from the mists of Black Metal history but retain a dark lustre nonetheless. The Blackened melodies are sharp and provide an underpinning backdrop for the mournful keyboards.
The vocals are like solidified lightning and flash out on top of the music with evil intent.
For me, there’s a lot of nostalgic character present in a band like this, and it really does take me back to an earlier time. I have a similar emotional response to Aegrum as I do to Cosmic Infusion, which is one to savour.
This is really enjoyable. Be sure to check this out and get your hit of well-performed mid-90’s style Symphonic Black Metal.
Barshasketh are based in Scotland and Void Ritual hail from the US. Both bands play Black Metal.
Barshasketh play occult Black Metal with an aura of dark majesty. They contribute two tracks to this split, 17 minutes in length.
The first song is named Palingenesis and immediately demonstrates the band’s quality songwriting and ritualistic riffing.
The music is played at all speeds, from a roaming crawl to blasting spite, and Barshasketh sound on top form either way.
Dominion of Ashes is the next track, and it allays any fears you might have of Palingenesis being a fluke; this song is just as good, if not better than the first.
Featuring Blackened riffs that immediately capture your attention and ice-cold vocals forged from malice, Barshasketh once more proceed to blow me away.
The sound is first rate throughout and this is a very impressive introduction to the band.
For fans of Marduk, Deathspell Omega, Watain and the like.
Void Ritual’s 2014 EP Holodomor was very enjoyable indeed, and they return here with a further three songs, 15 minutes in length.
Void Ritual have shorter songs and are an altogether faster proposition in general than Barshasketh.
Heaven’s Gate rips out of the speakers with venom and razorblades, demonstrating everything that I enjoyed about their earlier EP. If anything though, Void Ritual sound more professional now than they did previously.
Not that this is some sterile, ultra-polished commercial hit machine of course; this is still underground Black Metal through and through. It is, however, tight, focused and boasts a sound that’s as evil as it is satisfying.
Benevolent Mother is up next and continues Void Ritual’s penchant for writing enticing riffs that manage to scream Black Metal whilst at the same time sounding a bit different from the norm.
One of the things that attracted me to this band in the first place is that they may be playing a well-worn style but they do it with enough differences and personality quirks to make them stand out from the pack.
The final song is Temple of the Sun and this continues on where the last two left off; engaging riffs, Devilish atmosphere, roaring screams and top songsmithing. There’s nothing to not like here.
After how good the Barshasketh songs proved to be I was concerned that Void Ritual’s side of the split might be somewhat of a let-down. How stupid of me. Void Ritual can hold their own easily enough and remind me of how much I like their output. There’s just something about them.
These two bands play different facets of Black Metal that complement each other perfectly. Topped off with some excellent artwork this is one split you don’t want to miss.
Wonderbox Metal 