Part of the Agonia Records stable is out on the road again. DMU contributors have discussed both Aosoth and Mgla in the past and at least in some cases have been able to find value in them (although I’ve found Mgla hasn’t aged too well and that their formula is need of greater nuance). Continental Europeans will get a chance to judge these bands for themselves during this upcoming tour. So far limited to 10 dates and leaning towards the northern part of the continent, this seems to be a standard “support previously released material” type of tour. Aosoth is also performing at the Netherlands Deathfest (a subsidary of Maryland Deathfest) on February 28th.
VI is a French black metal trinity, made of current and ex-members of Aosoth and Antaeus. Their debut full-length album, De Praestgiis Angelorum, bestirs within the characteristic black metal niche developed by the said bands, with the addition of expanded guitar work, choirs and subtle sample parts. VI describes their music as “extreme, devoted black metal with illuminated chaos”.
– Featuring INVRI (Aosoth, ex-Antaeus) on guitars and vocals.
– Featuring BST (Aosoth, ex-Antaeus, ex-Aborted) on bass.
– Featuring Blastum (ex-Aosoth, ex-Antaeus, Merrimack) on drums.
– Recorded, mixed and mastered in BST Studio (Antaeus, Hell Militia, Aosoth, Vorkreist).
– Cover artwork by Alexander L. Brown (Leviathan, Stargazer, Bölzer, Darkthrone).
– For fans of for fans of Deathspell Omega, Funeral Mist, Aosoth, Ascension, Svartidaudi, Antaeus.
Et in pulverem mortis deduxisti me.
Par le jugement causé par ses poisons.
La terre ne cessera de se consumer.
Regarde tes cadavres car il ne te permettra pas qu’on les enterre.
Une place parmi les morts.
Voilà l’homme qui ne te prenait pas comme Seigneur.
Il est trop tard pour rendre gloire. Ainsi la lumière sera changée en ombre de la mort.
Formed in 2002, Aosoth launched themselves down an intellectual path blazed by the Order of Nine Angles, a theological Satanist outfit whose ideology differs greatly from the usual atheistic, materialist Satanism of modern “black metal.” This would become significant as the band evolved musically to match their inclinations in aesthetic and ideal.
Early Aosoth releases fit within the run-of-the-mill French black metal style with more aggression and yet control than most bands of that type were demonstrating at the time. As the band incubated their sound changes came, and each release improved upon prior works while also reaching for a style more likely to be unique to Aosoth.
IV: An Arrow in Heart meshes textures the way a painter mixes paint and applies to canvas. Most songs are in a somewhat standard format with riffs recycled often. Though the pitfalls of being monotonous from repetitive riffing are present in this release, Aosoth keep it interesting by having well-thought-out structures and progressions. Occasional ambiance meshes with the bleak and desolate droning riffs to provide an atmosphere of distress.
As black metal has found itself in a position of being separated from its origins without having discovered a path to the future, releases like IV: An Arrow in Heart site astride two very different standards, loyalty to form and need to innovate. While none will argue that Aosoth has left black metal behind like the post-metal et-al crowd, it is clear that this band has found a way to innovate within a faithful tribute to the past, and the result has given the band the voice it had desperately needed.
Aosoth’s third album III: Violence & Variation hemmed in repetitive riffs and enshrouded them into bleak atmospheric black metal. Reminiscent of Antaeus, Aosoth twist and contrive distorted tones to create an intransigent body of work.
The band expressed their progression from III to IV:
“We’ve spent such a huge amount of time on defining a darker identity, yet open to a wider range of influences. Those tracks still haunt us, as delivering them was a painful and excruciating experience, and left some of us even physically wounded… Which gives that album even more of a spiritual value, as it involved a form of sacrifice.” The band also added: “This fourth full-length release is without a doubt a great step forward for us in term of music writing, and sound.”
In addition to the release of IV, Agonia Records will release black vinyl versions of II and III on April 16th.
Active since 1998, Parisian black/death metal band Temple of Baal will release their next album on October 2nd, 2015 in CD and 12” vinyl format. The current lineup has performed and participated in many other French metal bands, perhaps the most notable of which would be Anateus. They released the following statement:
PARIS, France – French black/death metal veteran, Temple of Ball, has announced its next album, Mysterium, to be released on October 2 via Agonia Records. The first single, “Divine Scythe,” featuring guest vocals by Georges Balafas (Drowning, Eibon, Decline of The I), is streaming on YouTube at: https://youtu.be/gi2yqmKvUtw.
As the album’s title suggests, Mysterium dwells on the topics of spirituality and religiosity. “From the opener, ‘Lord of Knowledge and Death,’ to the closing number, ‘All in Your Name,’ every inch of this record drips with it,” the band commented. “Mysterium can be seen as a collection of meditations and prayers over the mysteries of faith, directed towards the gods of the left hand path.”
Musically, Temple of Baal’s black metal roots are back in full force, allowing the atmospheres to develop through songs of epic proportions, mostly clocking around eight or nine minutes each. Mysterium covers a wide musical specter, from slower ritualistic parts, to furious blasts and thrashy riffs or the surprisingly melodic choirs of “Magna Gloria Tua” and “Hosanna,” each song taking the listener into a spiritual journey, evolving through various climates, keeping the listener’s mind awake. “I never got that much into monotonous, uniform albums,” said band leader Amduscias. “I like music to take my mind from one point to another. Even if I have a strict view of what Temple of Baal should be, stagnation is not something I’m very fond of.”
Paying tribute to its old school roots, Temple of Baal covers Bathory for the second time, with the song “The Golden Walls of Heaven” closing the vinyl edition as a bonus track.
The recording of Mysterium took place in Hybreed Studios with long-time sound engineer, Andrew Guillotin (Glorior Belli, Mourning Dawn), who managed to capture the band’s trademark massive sounding, magnifying it through a warm and organic production. Cover artwork and layout have been prepared by David Fitt (Aosoth, Secrets of the Moon, Svart Crown) and Maria Yakhnenko.
Mysterium will be available in: six panel digipack CD with 16-page booklet, regular gatefold double black vinyl, and limited to 150 hand-numbered copies double gatefold vinyl (including one picture disc and one black vinyl). It can be pre-ordered now through the Agonia web-store at: https://www.agoniarecords.com/index.php?pos=shop&lang=en.
1. Lord of Knowledge and Death
2. Magna Gloria Tua
3. Divine Scythe
5. Dictum Ignis
6. Black Redeeming Flame
7. Holy Art Thou
8. All in Your Name
9. The Golden Walls of Heaven (Bathory Cover, vinyl bonus track)
In its 15-plus year career, marked by four full-lengths and numerous split releases, the highly respected French coven, Temple of Baal, has evolved from a primitive black/thrash outfit into a monstrous black/death metal entity of epic dimensions. Verses of Fire, the last album (2013), was acclaimed worldwide as a milestone in the band’s career, allowing Temple of Baal to perform at notable festivals such as Hellfest, Motocultor, Summer Breeze, Kings of Black Metal and Speyer Grey Mass. The formation also played selected shows in France, Finland, Germany, Switzerland and Austria, sharing the stage with the likes of Watain, Antaeus etc.
Stay tuned for more information on Temple of Baal and Mysterium, out this fall on Agonia Records.
VI, the French black metal supergroup comprised of members from Antaeus and Aosoth, has released the improbably-named “Il est trop tard pour rendre gloire. Ainsi la lumière sera changée en ombre de la mort.” sample track from De Praestigiis Angelorum, permitting a short review.
Like later Antaeus, this band is hollow. It is not outright fake, but it aims to control your mind by pleasing you with surface characteristics and missing what lies beneath. Much as the first Antaeus had possibility in that it attempted to upkeep some of the ideas of the past that worked, but never quite got there, and then the band backed off of that direction with later releases, VI has a strong surface of old school black metal — fast rhythms, the right minor-key riffs, the right texturing of melody and grinding — but at its core there is nothing. You might look at this as simply a better take on Deathspell Omega, but there is no transcendent passion in these songs, only a somewhat cynical knowledge of how to make music sound brainy and violent at the same time.
What propelled original black metal was a strong emotionality based in a worldview inspired by logical analysis, not social feelings, about human problems. VI reverses this with a song about the social feeling of belong in black metal and thinking how austere, relentless and different you are just for listening to this, and yet it has no substance. The band ably combines two riffs and variations for the initial part, then drifts off into a patchwork of ideas that fit together rhythmically but crush any chance for expressing a consistent or developing theme. What you get is like American beer: it has all the right ingredients, in the wrong order, with no idea uniting it all except to please the average fool for long enough that he will buy it again. Avoid this FMP/NWN release.
In darkness heavy metal finds its greatest friend. From the ominous tritone of Black Sabbath to the most vicious and bestial extreme metal of the modern day, diving into the abyss to find meaning has been metal’s clarion call. Keeping true to that paradigm, and displaying the ability to build upon it, Wormreich have crafted an EP of atonal black metal titled Wormcult Revelations.
Standing above ordinary circular composition, Womreich use leitmotifs if even on a small scale to expand the power of experience in this work. The narrative of this EP reveals itself through four songs which share returning ideas across the album, like a Satanic opera concluding in sinister victory. Cold and dark riffs, like a gathering of fervent souls brought together to recite the devil’s gospel, enclose this stygian mood. The dark, horror-like atmosphere of this EP separates this band from similar acts. The two instrumental keyboard tracks, “Shaare-Maveth” and “Codex Lvciferivm” use the dark-ambient style to emphasize that murky atmosphere.
Wormreich succeed in delivering a batch of haunting and devilish black metal similar to the likes of Aosoth, old Watain, and Deathspell Omega. Wormcult Revelations leads you through a whirlwind of smoke and fire for an authentic ritual experience.
I. Revelation I: Vox in Rama 2:30
II. Revelation II: Serpents of Choronzon 7:06
III. Shaare-Maveth 1:57
IV. Revelation III: Devotion’s Final War 7:15
V. Revelation IV: Enim Satanas Meum Sanguinem 7:25
VI. Codex Lvciferivm 5:08
VII. Malign Paradigm [Deathspell Omega cover] 4:45
I used to loathe end-of-year lists. They struck me as a pointless chance to advertise what should have been obvious before. Over the years they have risen in my estimation as a way not only to mark the year, but to bring up the gold that gets lost in the chaos of everyday life. And yes, they’re also shopping lists for the metalhead in your life.
This year our list is surprising even to hardened cynics. At a time when metal is bragging up and down the Williamsburg alleys about how “innovative” and “ground-breaking” it is, that novelty turns out to be the remnants of the 1980s: emo, pop punk, shoegaze and indie. The real innovation is as always underground, because to get out of the hive mind one must first remove oneself from participation in normalcy.
Thus what you will find here is not what you will see in either (a) the big-label-financed slick magazines and web sites or (b) the majority of small zines and websites out there. That is because the genre as a whole has shifted from creation towards an idea to emulation of the past, or reaction to the past by trying to adulterate it with outside influences. Neither approach succeeds.
When a reviewer chooses an album, he should pick one that will last in your collection. Your time is limited, as is your money. Thus we look only for works that you can purchase and enjoy over the years, and can return to with a sense of wonder and discovery as new angles and nuances emerge. This standard seems high, so they call us elitists. What we really are is people who love metal and want it to be strengthened by its best, not weakened by accepting its worst.
The following albums are those that merit such a standard:
Argus – Beyond The Martyrs
Rejecting the notion of newness in itself, Argus returns to fundamental influences from the 1980s and makes a band that sounds like a fusion between Mercyful Fate, Iron Maiden and Candlemass. Guitar riffery is designed to be inventive and interesting in its own right but is trimmed down to what fits the function of each song. As a result, these songs “sound like” the classics in more ways than one. They are thoughtful and deliberate, purposeful and driven. Classic heavy metal riffs merge with meandering leads that somehow pull it all together, under the mournful voice of a vocalist who clearly enjoys classic Candlemass both in vocal delivery and sense of melody. See full review / interview.
Autopsy – The Headless Ritual
Autopsy are famous for their contributions to death metal which notably peaked in Mental Funeral where their chaotic tendencies got wrapped up in their sense of atmosphere and produced a dark ambling journey into the subconscious. Of their later works, The Headless Ritual gets close to such a balance although it aims for something more everyday. This is an album that wants to deliver classic death metal thrills, and it does so with moderately paced songs that balance melody and savage chromatic riffing. Chris Reifert’s drumming pirouttes and grapples through vicious tempo changes as riffs unlock a Lament Configuration that is equal parts nostalgia and invention.
Birth A.D. – I Blame You
What happened to real thrash, like DRI and Cryptic Slaughter? In much the same vein as hardcore punk before it, thrash was so intense that it burned out after only four years of real presence. Birth A.D. wisely choose not to “bring it back” but rather to pick up as if thrash were a party and the next day, the hung over participants awaken among the ruins. They’ve sharpened its message, which merged the anarchy of punk with the search for societal purpose of metal, and given its riffs the S.O.D. speed metal infusion without unduly modernizing them. As a result, these two-minute songs hit hard and retreat into the jungle, leaving behind their sardonic lyrics mocking society for being so stupid. When the record stops playing, there is a sense of both having received too much information to process, and a sadness that there isn’t more. See full review.
Black Sabbath – 13
Realizing what Black Sabbath meant to fans not just as a named entity but as a phenomenon, Black Sabbath integrate the sounds of vocalist Ozzy Osbourne’s solo years into their later, more refined music, with citations to Master of Reality as well. The result is a powerful album that is more pop than their original works but, in a time when nu-metal rages on the radio, reclaims heavy metal as having a voice of its own. It also pushes controversy, affirming a presence of God in this world for good or ill at a time when most people want to get polemic one way or the other. A supporting cast of sprawling but hard-hitting songs make this a great immersive lesson and transition from regular rock to metal for new listeners. See full review.
Blitzkrieg – Back From Hell
This band shares members with Satan, who also re-entered the fray with an album of strong tunes. Like Satan, Blitzkrieg know how to simultaneously avoid “changing” for change’s sake (inevitably a lateral move to other contemporarily popular genres) and nostalgia for nostalgia’s sake, making instead an album that fits into their catalogue but doesn’t deny the older, wiser status of its members. These are mostly straightforward songs with melodic choruses and driving, riff-centric verses, plus nimble-fingered and harmonically-aggressive soloing. See full review.
Burzum – Sôl Austan, Mâni Vestan
People said they wanted old Burzum back. The spirit of old Burzum comes back in this ambient album. It’s a bit more hasty and less refined by fanatical attention to detail than his previous works, but it creates the same world, only zoomed forward in time. It is both a practical and imaginative album. In style, it resembles a cross between Tangerine Dream, William Orbit and the Scandinavian folk music of Grieg, Hedningarna or Wardruna. Strongly ritualized, it unfolds like a descent through mythical worlds and finds its own balance. One of the best offerings in this field. See full review / interview.
Centurian – Contra Rationem
For years many of us have wanted this Dutch band to catch a break. They have written several albums of relentlessly pounding, rhythmically intense riffing that somehow doesn’t add up. First, writing the whole album at high speed means that soon it backgrounds itself; second, there was always a lack of melody or song structure to hold it together. Centurian have improved on the latter two and toned down the former to a great degree, such that this is no longer trying to be Krisiun but more like a more Angelcorpse/Fallen Christ approach to Consuming Impulse. The result showcases this band’s dexterity with riffcraft and creates an intense atmosphere of violence. See full review.
Cóndor – Nadia
This entry album by a new band shows a lot of promise in tackling the power metal format and trying to give it the balls of death metal and funeral doom metal. This contemplative, mostly mid-paced album shows a sense of atmosphere as manipulated by riff, in the death metal sense, given a somewhat upward curve and heroic spin in the best tradition of power metal. Although it’s a new act, and still organizing itself, Cóndor shows that life remains in true metal that can be explored by revisiting its motivations. See full review / interview.
Derogatory – Above All Else
In the tradition of Vader, Mortuary and other fast phrasal death metal bands, Derogatory invoke the classic death metal form with an album of nicely interlocking riffs that reveal a basic but distinctive structure beneath each song. This album is not self-consciously “retro” so much as it is using the voice of the older style, and while it doesn’t expand stylistically, it has found a voice of its own. See full review/interview.
Empyrium – Into the Pantheon
Combining funeral doom metal with European folk music creates for Empyrium a fertile style that is showcased here in a retrospective of the best of their career presented in a rare live setting. Expect plenty of use of silence and resonance to build up these songs, which start slowly and then become engaging before evaporating into more esoteric conclusions. While most funeral doom aims to be dark, Empyrium creates an emotional contrast like a Gothic band, with beauty arising from chaos only to be strangled by inevitability and fall again. See full review / interview.
Graveland – Thunderbolts of the Gods
Following up on 2012’s Lord Wind release, Polish/Italian artist Rob Darken unleashes a new work under his black metal brand Graveland. Like the band’s second career-defining Memory and Destiny, this release features Bathory Hammerheart-style guitars which mix speed metal and black metal to produce rhythmic riffing as a backdrop for keyboards and vocals, now featuring also human female vocals and violin. The result is a collision between heavy metal, neofolk and epic movie soundtracks that evokes the glory of the ancient past.
Master – The Witchhunt
Paul Speckmann is a metal institution who has stayed with death metal from its genesis in the early 1980s through the presence. His latest, The Witchhunt, showcases the stable lineup he has used for recent releases but tones down the overall intensity to focus on songwriting. Fast riffs blend together with touches of melody and the classic Speckmann vocal patterns which resemble the struggles of daily life turned up to eleven. Where previous Master works of recent vintage tended to blend together, on this one each song is distinct. See full review / interview.
Profanatica – Thy Kingdom Cum
Taking a hint from Necrovore and intensifying it through technical prowess, Profanatica step back from the longer melodic riffs of Profanatitas de Domonatia and instead write short, cyclic phrases within compact rhythms in the style of the ancient Texas death metal cult. The result is like a primitive album with complexity embedded in it as melodies expand within fixed riff forms, uniting savagery and beauty in the service of blasphemy. As with all Profanatica works, this is experimental to the extreme, but Thy Kingdom Cum ranks among their most listenable releases. See full review /interview.
Rudra – RTA
The Singaporean maniacs return with an album that uses more traditional melodic death metal riffing but retains its rhythmic structure based on speed metal and possibly the Hindu rituals described in its lyrics. As with most Rudra releases, RTA does not aim for the pop song idea of hitting a sweet spot and luring in your ears. It is the construction of an experience, in this case a dark descent that forges a resolve to continue through warfare and a martial stilling of the reckless personality through militant silence of the soul.
Satan – Life Sentence
The rougher edge of NWOBHM that was a kissing cousin to speed metal emerges again in this highly musical album from Satan. Like their groundbreaking early 1980s works which presaged the debut of Metallica and birth of speed metal, Life Sentence features inventive riffs in classic song format in which melodic development in the vocals harmonizes riffs to bring songs to a conclusion. Shy of speed metal mostly because it relies on relatively fixed song format which emphasizes verse-chorus riff pairs, this album nonetheless reveals both the greatness of NWOBHM and its continuing relevance in a time of tuneless songs and random song structure. See full review / interview.
Summoning – Old Mornings Dawn
After black metal fully constituted itself in the early 1990s in Scandinavia, people looked for the next development along these lines. Some went to dark ambient, but others like Summoning and Graveland instead explored longer melodies and more drawn-out, atmospheric songs. Summoning take a medieval and Tolkien-inspired approach in contrast to the more martial outlook of other bands, and produce as a result immersive waves of melody that evoke a more organic society. With Old Mornings Dawn, these Austrian metal maniacs build on the emotion of Oath Bound but exploit it in more compact and separable songs, making one of the more intense metal statements of the year. See full review.
Von – Dark Gods, Seven Billion Slaves
Following up on Von’s early career material like Satanic Blood is not easy; in fact, it’s impossible. A band would either have to re-create that minimalist style and risk irrelevance, or embark on a campaign to dress it up as something it is not. Von has opted for something else entirely which is to create a minimalistic core within a rock opera style of black metal, producing one of the more puzzling but satisfying releases in the underground metal world this year. See full review.
Wardruna – Runaljod – Yggdrasil
Combining folk music, world music, droning found noises and the type of ritualistic dark ambient that emerged from the end days of black metal, Wardruna is a black metal side project that offers a different vision of music. While earlier works seemed detached from the end listener, Runaljod – Yggdrasil embeds the listener within a wave of ceremonial sound that aims not to be forebrain listening as Western rock is, but a mentally ambient experience that overwhelms by addressing all of the senses and channeling that experience toward a realization.
War Master – Blood Dawn
Underground death metal continuation act War Master released a four-track EP, Blood Dawn, amidst personnel changes and other upheavals this year. Like the previous Pyramid of the Necropolis, Blood Dawn focuses on futuristic and yet ancient concepts, almost like Voivod taking on Robert E. Howard or Edgar Rice Burroughs. From this vast concept come songs that both grind their way to nihilism and implement the death metal method of matching riffs into an internal dialogue from which a conclusion emerges, creating a pocket of mystery which is filled with wonder and violence.
Album of the year:
Imprecation – Satanae Tenebris Infinita
There is no completely fair way to pick an album of the year from a list with this many strong contenders, but Imprecation win this one on both substance and situation. For substance, this is a solid album that combines a black metal sense of ritualistic song development with the death metal tendency to make abstract riffs into an organic whole. For situation, Satanae Tenebris Infinita sees a band that started in 1991 and is famous for releasing its discography of demos in 1995 finally reach a stage where it can release a full-length album independent of any past influences. In addition, Satanae Tenebris Infinita hits hard and does not relent. Each element serves a purpose toward creating a transition in moods, like a perpetual parallax as continents shift. If death metal was waiting for a direction forward, Imprecation have opened that gate to a new occult science and art of subversive metal. See full review / interview.
The following were considered, and then not so much considered:
Morbosidad – Muerte De Cristo En Golgota. This is like Krisiun or Impiety rendered in the style of Mystifier, or like any of the war metal bands that imitated Blasphemy but with a dose of downtuned Sarcofago. It’s not bad, but aside from high intensity rhythm, it doesn’t have much to offer. Thus think of it as Satanic death techno performed on muddy guitars.
Fates Warning – Darkness in a Different Light. Bands: don’t try to roll with the trends. You were good at something else for a reason. This album has strong smary indie rock influences on its vocals and the result is embarrassing to be caught listening to. Riffs are reasonable, but don’t particularly develop, and emphasize space and consistency more than something with a personality.
Grave Upheaval – Untitled. Not bad; mostly rumbling noises, very true to form. Unfortunately, also doesn’t go anywhere. It’s an atmosphere piece of one dimension.
Warlord – The Holy Empire. Some sort of rock-metal hybrid from back in the day, this form of power metal uses mostly lead riffing anchored by static open chording. The dominant instrument is the voice, more like Rush or Asia than most metal. It’s pleasant but lullabye and too close to rock music.
Hell – Curse and Chapter. Do you know how far I would have run to get away from this back in the 1980s? It’s NWOBHM/early power metal without much melodic movement in the riff, so there’s a lot of chugging and shifting but not much actual motion. Nor will you have much actual motion as you listen to this… in fact, you might find yourself immobile and snoring.
Battlecross – War of Will. This is traditional metal affected by metalcore aesthetics. The vocals follow the surge pattern of later hardcore, and the melodic riffs use rhythmic “chasing” to accelerate patterns older than Chuck Berry. The result is so distracting the band can’t compose a song, but instead write a riff pair and then leap into a blast beat to transition.
Enforcer – Death by Fire. Here we have another band from Scandinavia creating highly musically-literate, catchy and otherwise perfect music. The problems are twofold: (1) it is a clone of 1970s styles that are liked for their innocent pop cheeze (2) while it is emotive, and aesthetically appealing, it is also empty.
Queensryche – Queensryche. Since the band went legal on each other, there’s now two Queensryches… this one sounds like Coldplay. The same posi-pop vibe and expansive chorus feel drives this work, and it has a similar outlook on the world, which is a sort of pathological compulsion to make things beautiful instead of finding beauty where it is rare. Unsettling.
Leprous – Coal. If this Queen-slash-bad-indie band gets anywhere in metal, it’s time to bury the genre under warm ruminant feces. Power metal mixed with dramatic English pop. The result is bracingly twee with metal riffs batting about in the background.
Iggy and the Stooges – Ready to Die. Almost all reviews of this album will waffle, because it is good, but it’s not distinctive. It all kind of flows together, as if the band paid more attention to the aesthetics of sounding like themselves than whatever’s driving them. But how do you “be punk” when you have a paid up retirement plan and health insurance?
Abyssal – Novit Enim Dominus Qui Sunt Eius. This was the hip thing for a few weeks, but shows you that you cannot revive a genre by imitating it through outward form. These songs use all the right pieces, but in a random order, and thus create no mood except nostalgia. And I piss on nostalgia’s grave.
Tyrant’s Blood – Into the Kingdom of Graves. Great title, has a Blasphemy ex-member, can’t go wrong… right? There’s a lot to like about this, but it doesn’t hold together. It embraces the “hotel buffet” style of offering many different riff types in a single song that ends up distorting any coherence. Storming Perdition Temple-style fast metal explodes into melodic mid-paced riffs and then ends up chugging deathgrind, lost and adrift on the seas of making a point.
Cultes des Ghoules – Henbane. It’s ludicrous that so many in the underground were fooled by this comical album. It’s a lot of bad heavy metal riffs interrupted by “avantgarde” noise, samples, etc. — the usual cliches — so that you don’t notice it’s bog-standard. This is hipster incarnate.
Acerus – The Unreachable Salvation. Galloping uptempo yet mid-paced heavy metal with a lot of Iron Maiden and Mercyful Fate. Not bad, but not particularly expansive to anything more than that aesthetic role.
Aosoth – IV: Arrow in Heart. This album, like Immolation, got credit because people expected it should. Its strong point is listenable songs with some technicality; its weakness is that they express nothing strong. It is Participation with an A+ for method and a B- for content.
Sodom – Epitome of Torture. This rather sentimental, somewhat modern-metal influenced take on a speed metal album is very catchy and represents Sodom’s most professional work, but also loses the unique perspective this band offered on the world around it. This is more like the heavy metal albums of their youths, heavy on emotion which makes their repetitive, chorus-heavy approach almost too saccharine.
Grave Miasma – Odori Sepulcorum. I have wallpaper. It’s named “It’s 1991 again and you can rediscover things you believed in once again.” It sounds like a mishmash of 1990s era death metal and yet, because it’s wallpaper, it never comes to a point. It just creates an atmosphere.
Týr – Valkyrja. Power metal of the newer stype seems to me it has a mystery ingredient, and that is devotional music. This sounds like church music, with sweeping choruses and whole-note cadences, and it has an admitted power, but it also loses much of what makes metal powerful: it’s not protest music, nor is it music that tries to cover ugliness with beauty, but music that finds beauty in what is considered ugly.
Onslaught – VI. Eager to effect a return to the music business, Onslaught speed up their punk/metal hybrid but adopt the vocal styles and constant driving mechanical rhythm of modern metal. The result is unrelenting but also disconnected and monolithic. The catchy choruses don’t help and seem almost to mock the rest of the music, which sounds like a pilotless threshing machine gone amok in a pumpkin patch…
Death Angel – The Dream Calls for Blood. In the 1980s, speed metal bands had a certain annoying rhythm where they tried to be as obnoxiously bouncy as possible while ranting as intensely as possible. With modern metal much of the internal rhythmic interplay has been eliminated, resulting in something that sounds like chanting Stalinist propaganda with guitars strobing in the background.
Bölzer – Aura. Like Oranssi Pazuzu, Bölzer experiment in disorganized slowed black/death/heavy metal with mixed-in weirdo alternative rock. Weirdo alternative rock has existed since early rock bands made a name for themselves by being odd. The problem is that it doesn’t connect to form an impression, only a sense of instrumentalism.
Coffins – The Fleshland. Doom-death with some quality riffing, Coffins nonetheless manage to inevitably get lost in each of their songs and fill the void with noodly pentatonic leads, distracted tributaries of non-essential riffs, and “atmospheric” repetition.
Metal Church – Generation Nothing. This shrill metal band has always struck me as more in the heavy metal camp than speed metal camp, and here it’s borne out. The riffs don’t have form like speed metal riffs do but are mostly static based on rhythmic repetition. Focus is on the voice, which wails. Not bad but annoying and kind of empty. Also, older guys trying to bond with the new generation is awkward when done this way.
Malthusian – MMXIII. Like many sonic experiments, this band relies on style to shape content because style is the substance of the experiment. The idea here is to combine the Incantation-clone death metal that is trendy with melodic progressive touches, including some sneakster modern metal influences. The result loses what could have been and fails to transition to what it wants to be.
Stratovarius – Nemesis. When did this band get so bad? The first track sounds like a rip of Heart’s “On My Own,” and the rest of the album proceeds in this fashion: combine classic metal riff archetype with classic 1980s vocal melody, add some flourishes and hope it’s good enough. I liked it better when this band was more speed metally and less pop.