Hades Almighty – Pyre Era, Black! (2015)

Hades Almighty - Pyre Era, Black! (2015)

Review by Daniel McCormick

According to the FBI, 90% of arsonists are male, and usually white. Studies show that these perpetrators are young, angry, and often acting out of a belief of revenge. The founder of Hades Almighty, Jorn Tunsberg, was 22 when he decided to make a “statement to breakdown Christianity” and proceeded to torch the Åsane church in Bergen, Norway on Christmas Eve in 1992. This flair for dramatic communication, based in anti-Christian sentiment and pride for heritage, is still forging quality metal after all these years. Enter Pyre Era, Black!, the first album released by Hades Almighty in nearly a decade and a half. This EP clocks in at just under twenty minutes and consists of three tracks with rather ambiguous titles. Because of the ambiguity I didn’t know what to make of this prior to actually hearing it, but I was skeptical. Luckily, upon my initial play through, I was happily surprised while also finding the direction had gone somewhere unexpected.

The music is reminiscent of prior Hades material, but with a diminished black metal feel, and a greater focus on cleaner texture and ambiance that lends a modern body to the traditional Hades sound. This is embellished by a well mixed depth in the structures that actively engages the listener, and by building within the repetition via a variety of ideas that keep the experience from growing dull. This is backed by a crushing rhythm section that is a perfect fit to the style. The vocals on the album are consistent, well laid out, but done in a mostly folk/viking style with very little in the black metal voice of old.

Of the three songs the final track seems the most interesting and developed, and I hope to see Hades advancing more in this direction. It differs from previous works of Hades by incorporating greater accessibility, a more stylized tonality, and also by incorporating a sense of abstraction into supporting ideas. Despite its less than ingenious title this track has an extremely creative mixture of things going on: from stand out bass work to well dispersed acoustic/ clean guitar to a peculiar industrial break to oddly melodic screaming etc. I find my tongue nearly tied to explain the diversity, there’s a progressive, folk, black, viking, original thing going on here that is just beyond the scope of a great number of generic modern acts. Which is more to say that it doesn’t try, but is; a sound denoting inspiration not aspiration. The arrangement seems an orchestration with an ‘inner law’ as Nietzsche defines, “relative to an individual culture.”… …in this case, to true Norwegian metal. Particularly in the main portion of the final track, running from about 01:00 to 07:00, one finds a mix of nontechnical riffs with hammering aggression in accentuation, and an emotional, black ponderance arising in the revolving tonic chord which therein is impressed with a number of tension inducing, numinous evincing, foreground embellishments.  A fine example of song writing prowess, and the best track to check out to decide if you should pick up this release.

Overall, I’ve been a fan of Hades since ’98/’99 and I’m proud to say this heathen is still one. So go pick up this record now(!), blast it on eleven, and burn down a church for the glory of Odin.

 

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Varathron to unleash Untrodden Corridors of Hades

varathron-untrodden_corridors_of_hades

Greek black metal founders Varathron return with a new album that takes the band in a modernized melodic metal direction but does so without losing the unique balance of heavy metal hooks and dark atmosphere that defined the debut, His Majesty at the Swamp.

Untrodden Corridors of Hades, which will see release via Agonia Records on November 21 in Europe and December 9 for the rest of the world, veers away from the old school doom metal sound of the debut but picks up with a version of the melodic metal of Walpurgisnacht but in a modernized style. This new style adopts the frenetic pace and compressed song structure of contemporary metal, but within that style, the ear for melodic composition and atmosphere of the original band makes itself audible.

With a cover by famed metal artist Mark Riddick, Untrodden Corridors of Hades was recorded, mixed and engineered by Kostas Kalampokas at Infinite Loop Music Studio in Greece and mastered by Tom Kvålsvoll at Strype Audio in Norway. The new album resembles 2009 release Stygian Forces of Scorn but with new energy and louder sound, as the embedded sample below reveals.

Tracklist:

  1. Kabalistic Invocation of Solomon
  2. Realm of Obscure
  3. Arcane Conjuring
  4. Leprocious Lord
  5. The Bright Trapezium
  6. Death Chant
  7. Delve Into the Past

Line-up:
Stefan Necroabyssious – vocals
Achilleas C – guitars
Sotiris – guitars
Stratos – bass
Haris – drums

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The Craft of Metal #3 : Dethrone the Son of God

When Profanatica could not finish their unreleased album, the genius and creator of the band Paul Ledney took time away from the noise of other musicians to fully realize his vision in composing a short album that took the best of his influences from all over the underground into creating something that would show the world the extent of the musical genius that this man possessed and that he was much more than an alumnus of a few great bands. In this final piece in the Craft of Metal series, we look at one album that managed to open new branches for what was to remain of the underground as the Death metal movement had just began to explode with bands getting signed by big labels all over the place and leaving the most repulsive bands to grow far from the spotlight.

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Varathron – Patriarchs of Evil (2018)

Article by Belisario

Almost four years after their previous full-length, Varathron is back with a new effort that meets expectations and offers a fantastic black metal listening experience in the distinctive Greek variety. The veterans from Ioannina have been able to maintain a difficult balance between respecting their classic sound and developing new forms, something they had already achieved on Untrodden Corridors of Hades. These new forms are slightly different and more modern, yet clearly related to their older albums.
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Godflesh – Post Self (2018)

If someone goes on this tour, make sure to hand Justin Broadrick a telephone to signify that this album has been phoned in. As the term implies, when content creators are no longer focused on making their work significant, an “it’ll do” mentality results. This fits within what Godflesh and related Broadrick-acts have done through their careers.

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Underground Record Labels in 2159 Ch. II

It was very late at night now. The moon was full, and the path had gave way to a blood paved street. Some very pale women and children with red eyes came out and played on the swings in the forest in the dark, giggling.  There was a shanty town, many huts, with a Gerry-rigged cathedral with Satanic stained glass mirrors in the center.  A small class was being held inside of one of the huts. he had heard of this place, a weird Swiss corporate enclave that had been on the route to Stoner Mountain since the early 1600s and which , strangely, still remained as part of Switzerland (formally), though it was in the middle of what used to be known as California, in the former USA.  Rumor had it that not far from this place, the tech titans had made a pact with the Satanic Illuminati (Octagon) to provoke nuclear war in order to further control the supply chains. From time to time, large amounts of cryptos had been reported (as having been dumped on the road) to GovCore.  People were likely harvesting DeathCoins out here, using biomechanical hydro power. Death coins stored up all the vitality of the people killed onto a tradeable digital coin.  Luckily, these people were more into the tech side of the system. They let the low lives and the scavs in other regions do most of the killing these days. Their killings were merely ritualistic at this point.
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Bring Back The Apocalyptic Raids

Hellhammer is the ultimate symbol of what black metal should be about: a free exploration of dark phrasal music at the hands of a twisted mind.  Typically it was not only the chromatic movements between sections which defined the music of Hellhammer but the linking between them, whose effect was great because individual sections were in fact proper tonal areas.  It was their sensible juxtaposition, which gave the music its unique flavor.  Furthermore, the maniac howling of Tom G. Warrior added the final touches of a music that was to set the example for an enactment that resembled an entrancing ritual more than it did a simple, mundane hedonism and biker metal, which had been the rule until that point.

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The Haarslev PB30/60 As Big As The Ritz

Dennis Emmental hated being late because it revealed to everyone how little he wanted to be there. Slipping past the creaky back door, he took his place in the line at OptiFood. Orders came from the digital kiosk at the drive-thru and Dennis had twenty-four seconds to assemble the ingredients for the OptiMeal:

  • Chinese: steak|chicken|fish, Szechuan sauce, noodles, lettuce, pepper, peanuts, onion
  • Mexican: beef|chicken, cheese 1, Picante sauce, lettuce, pepper, Guacamole sauce, sour cream
  • Italian: beef|chicken, Diable sauce, noodles, pepper, lettuce, onion, cheese 2
  • Thai: beef|chicken, cheese 1, noodles, Picante sauce, Szechuan sauce, pepper, onion
  • Murican: beef|chicken, cheese 2, Diable sauce, bread 11, Gaucamole sauce, cheese 1, lettuce
  • European: steak|chicken|fish, lettuce, pepper, sour cream, cheese 2, onion, bread 11

He and his cohorts were dumping ingredients in the short, stout, beaker-shaped commemorative plastic buckets used to serve the twenty-four ounce meals. The store was open twenty-four hours a day, and had a thirty-eight percent turnover rate at a six month interval. The owners were unconcerned; they had reached the point where it took a million bucks just to think about suing them, and everyone knew that most of their employees were retards and flakes and so just laughed off their complaints.

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