Norwegian black metal band Ancient are touring Latin America later this year. Latin American headbangers should check them out. Hopefully Ancient will play none of the godawful black ‘n’ roll that came after Trolltaar.1 Comment
Blood must be shed to atone for the sins of these mostly horrific recordings. Every single person who thought releasing these was a great idea should attempt to give themselves a self-swirlie while under the influence. Banging their head on the porcelain toilet tank lid will knock some sense into them or crack their skulls open. Hopefully the latter.35 Comments
Tags: acod, AIDS, beer metal, black 'n roll, carpatus, ctulu, cvinger, deathcore, ethmebb, hyperion, kforkill, krampus, maldoror, mustan kuun lapset, nyktophobia, orwellian, quintessenz, raise the black, sadistic metal reviews, sail, servus, starlit woods, viles vitae, wormhole
It took some time, but despite the deluge of content constantly bombarding us and aspiring metal fans worldwide, we’ve been able to reach some level of consensus on 2015’s worthwhile metal music. Not to say that we’re in perfect harmony (If you’ve been paying attention, you’ll note that there’s some room for dissonance in our musical language), but the hope is, like what our recent reinspection of 2013 revealed, that some of this material remains interesting for more than the year it was released.
A wrathful reminder of what war metal should have been: a melodically-structured, chromatic holocaust to the god of this world. Jan Kruitwagen’s leads awe listeners and are optimally placed to hold attention just as each rhythm riff runs its course. An impenetrable mix rewards repeated listening to an album that may surpass Kruitwagen’s work on Sammath’s Godless Arrogance. March to Kaeck’s martial heartbeat or revel in shit.
Bolt Thrower meets ritualistic black metal. Rather than cathartic bending into climactic oriental leads, Desecresy diffuse tension by methodically varying into bizarre melodies with carefully placed, otherworldly leads to a steady metronome.
Mid-paced riffing in the style of Bolt Thrower builds tension with melody and drifts off into space with variations and well placed leads. Where Bolt Thrower themselves shoot a rifle at the ballon using rhythmic change to introduce another riff or dramatically bending the riff into a climactic, oriental short solo, Desecresy insert ritualistic blackened leads for dramatic contrast with the rhythmic, power chord riffing.
Review and Interview:
Rob Miller returns from blacksmithing to his previous metallic occupation with an album of catchy post-punk in Motorhead and Metallica song formats. Thankfully free of the Godsmack and other MTV influences present on Amebix’s swansong.
- Tau Cross – Tau Cross (2015), by Brett Stevens (July 1st, 2015)
An effective album of mid-paced death and heavy metal riffing. There is no psychedelic rock pretending to be Black Sabbath “doom” here. Highly structured; the opposite of the random tossed riff salads of most modern metal. This band takes an approach more like that of classical guitarists toward melding death metal with progressive rock, blues, folk and other influences: it mixes them in serially and adopts them within the style, rather than hybridizing the two styles.
In other words, most bands that try to sound like progressive death metal try to act like a progressive rock band playing death metal, or a death metal band playing progressive rock. Cóndor takes an approach more like that of musicians in the past, which is to adopt other voices within its style, so that it creates essentially the same material but works in passages that show the influence of other thought.
Reviews and Interview:
This vinyl 7” single features two new, well constructed death metal songs from one of from one of the few truly underrated bands in the genre. Those foresighted enough to purchase the identically-titled CD boxed set version received the band’s entire catalog in one of the rare remasters that sounds better than the original releases.
- Interview: Morpheus Descends (Rob Yench), by Brett Stevens (June 12, 2013)
- Interview: Brad Moore, who designed legendary Morpheus Descends cover, by Brett Stevens (October 9, 2013)
One last Motorhead album of mostly Motorhead songs. Nothing “new” is introduced for those in the non-metal audience who disdain metal and wish to feel intellectually superior to the common headbanger. The final work from a relentless machine of a band.
- Motörhead – Bad Magic (2015), by Gabe Kagan (August 31st, 2015)
- Slaughter of the Soul‘s 20th Anniversary of Awfulness, by Daniel Maarat (November 14, 2015)
- Listenable Records reissues Immolation – Dawn of Possession, by Daniel Maarat (November 19th, 2015)
- Order from Chaos – Frozen in Steel (2014), by Daniel Maarat (August 29, 2015)
- Carbonized – For the Security re-issue, by Brett Stevens (February 9th, 2015)
- Sammath’s debut now on Bandcamp, by Gabe Kagan (September 10, 2015)
- Arghoslent’s Arsenal of Glory and Galloping Through the Battle Ruins reissued, by Daniel Maarat (January 3rd, 2016)
- What thrived and what died from the 1990s (Part I), by Brett Stevens (September 3, 2015)
- Blasphemy – Fallen Angel of Doom (1990, 2015), by David Rosales (June 11, 2015)
- Obscura and Osho, by David Rosales (May 3, 2015)
Crusty death metal of the better than braindead Benediction but worse than Cancer category.
I’ve possibly heard too much but Hanger 18. I know too much. Although not as degradingly vulgar as Surgical Steel, Atom by Atom results in a pretty tacky affair. Vocals are as emotional as in the first album, except that in here they seem even more disconnected from the music as the music veers into some sort of progressive speed metal akin to Helstar’s. (Editor’s note: I liked it, but David Rosales was critical)
The band shows promise with their Unique Leader-style rhythmic riffing and soaring heavy metal leads. While being above par for technical deaf metal, aping a different one of your heroes every few verses doesn’t make for particularly enjoyable repeated listening.
Fredrik Nordstrom’s Arghoslent.
Technical power metal carnival music.
Nobody is allowed to edit themselves or turn on their bullshit filters in Steve Harris’s band anymore (Read a full review here).
Kvist meets the randomness of metalcore. Indistinct riffing and songwriting mix with pointless shoutout verses to past greats that makes listeners wonder why they aren’t just playing Sodom and Mayhem in the first place.
Where are the riffs?
Every Teutonic speed metal band gone Voltron.
The band has no need to repeat half the song just so the guitarist can get over his refractory period and play another solo. This is also an extremely distracted riff salad in which the individual riffs can be brought in from sources as different as galloping power metal to thrashy death metal to alternative nu and groove “metal”. This is headbang-core for beer metallers and other social metalheads. This recording received two reviews in 2015.
A collection of interesting renaissance faire riffs written into songs that quickly wear out their welcome as metal, becoming RPG background music.
A few strong songs on a demo do not warrant a two CD set of Swedish death with limpid keyboards anticipating the steps black metal took towards mainstream goth rock in the late nineties.
This is the type of black metal as repetitive rock music that ignorant hipsters will praise as “ritualistic”. The album’s title sums the quality of its musical content: futile. (Editor’s note: I wanted to give this album a chance. It didn’t age well.)
Gothenburg cheese and Meshuggah licks are less appetizing than a lead-laced Mexican lollipop.
Grave Miasma returns. This time with 1993’s atmosphere.
Candlemass meets Soundgarden.
Every Teutonic speed metal band gone Voltron.
Solid underground metal in the spirit of Sarcofago that is perfectly well-written but does not amount to more than the sum of its parts; does not conjure up any long-lasting message.
Tags: 2015, best of, best of 2015, Black Metal, condor, death metal, desecresy, Heavy Metal, kaeck, mainstream metal, morpheus descends, motorhead, reissues, Speed Metal, Stormkult, tau cross, underground metal
As long as there are human societies, people will attempt to control the information that goes out to the group. People can be easily manipulated, especially in groups, and that creates both a fear of unnecessarily incendiary material on the positive side, or subversion of the dominant paradigm and narrative on the dark side.
Here’s what happened this week with censorship and the response to it.
- Angela Merkel wants Facebook to censor dissent on immigration.
Former East German politician Angela Merkel, now the putative head of the European Union, has made the statement that Facebook should censor racial commentary including speech against the recent immigration surge into Europe:
Politicians and celebrities have voiced concern about a rise of xenophobic comments in German on Facebook and other social media platforms because of the refugee crisis.
“When people stir up sedition on social networks using their real name, it’s not only the state that has to act, but also Facebook as a company should do something against these paroles,” Merkel told regional newspaper Rheinische Post.
The problem with this of course is that it includes both the rude and cruel speech of those who fling racial slurs, and those who merely mention the issue and possibly critique it. Merkel did not say “ban racial slurs”; she argues for the banning of “racial commentary,” which in theory could include this post. She reveals her East German roots with this one.
- Reddit censor Ellen Pao fails to appeal failed gender discrimination suit.
Former Reddit interim CEO Ellen Pao, who tried to implement the banning of controversial content by topic and not texture (such as slurs) on Reddit and was partially successful, was working at Reddit after being fired from a law firm which she was suing on the grounds of gender discrimination. They said she under-performed; she said they discriminated against her. Most suits of this type get settled to avoid publicity, which means that many people get a payout for simply bringing the suit. The firm, Kleiner Perkins Caufield & Byers, fought back instead and won. Pao appealed and was widely hailed as a hero by SJW journalists, even as she was acting on Reddit to shut down any speech on certain topics, even if factual, logical and polite.
Ellen Pao is dropping her appeal of the gender discrimination suit she lost against her former employer, venture capital firm Kleiner Perkins Caufield & Byers. Pao sued KPCB in 2012, claiming that women were not given fair consideration in the male-dominated workplace. She also said that a male colleague with whom she had an affair unfairly cut her out of e-mail correspondence and upper management did nothing about it. She was fired soon after filing her suit. After a bruising month-long trial in which her personal character and work performance were repeatedly brought into question, a jury of six men and six woman ruled that there was no evidence of gender discrimination.
The failure of her appeal means that Pao is out for the legal costs of her initial suit. This shows a court (and jury) spanking down such spurious suits by not only denying her victory, but also forcing her to bear some of the cost of making the accusation. This perhaps reveals the amount of damage such unnecessary profiteering has cost firms.
- Cartoon exhibit fights back against censorship and terror
Pittsburgh City Paper reports that a cartoon exhibit is fighting back against censorship and threats to speech in the wake of the Charlie Hebdo attack, the Jyllands-Posten cartoon fatwa, and a shooting at a “Draw Mohammed” cartoon contest in Texas which seems to have been designed to provoke Muslim fundamentalists. The exhibit touches on many issues related to free speech and free expression:
Slinging Satire: Political Cartoons and the First Amendment, curated by Rob Rogers, the Pittsburgh Post-Gazette cartoonist and ToonSeum board president, courageously takes on civil rights, racial inequality, terrorism and the impact of art on politics.
The provocative exhibit features digital prints donated by 20 renowned artists from newspapers and online publications across the country, including the Los Angeles Times, The Washington Post, the Chicago Tribune and The Boston Globe.
The most striking part of the exhibit is “Je Suis Charlie,” a tribute to those fallen in the Al Qaeda attack at French satirical publication Charlie Hebdo this past January.
It is unlikely that this event will be popular among the extremist set but it aims to re-establish certain liberties taken by writers and artists in the past that are currently threatened by censorship or violence from many sides.
- Gentleman’s barbershop fined for not cutting woman’s hair.
In a desire to provoke denial and create a sense of personal injury, a woman entered a barbershop which advertises itself as specializing in the cutting of men’s hair, was as expected refused service, and has now invoked Government to force us all to be nice precious snowflakes who get along with each other. Never mind that barbershops for men have existed for centuries much like their female counterpart. The state imposed its demands with an investigation:
Now, the business is at the center of a heated debate after owner John Interval was fined $750 for refusing to cut a woman’s hair.
She filed an action with the state’s Bureau of Professional and Occupational Affairs.
That agency imposed the fine for gender discrimination after a state investigator visited the business and interviewed Interval.
This continues a habit in American and European law of forcing people to serve every other conceivable customer, even if illogical, and limits both their speech and free expression in how they run their businesses. While this is being argued as a victory for freedom, in fact it deprives people of freedom to operate a business for a specific clientele.
- Charlie Hebdo could be sued after mocking refugee death.
No stranger to controversy, and recovering after the slaughter of most of its upper staff by extremists, French satire magazine Charlie Hebdo faces a new foe: government. According to its detractors, the magazine has crossed the line into full-on racism, which is illegal in France despite being a matter of free speech:
But barrister Peter Herbert, Chair of the Society of Black Lawyers and former vice chair of the Metropolitan Police Authority, was among many who said Charlie Hebdo had overstepped the mark.
Mr Herbert alleged on Twitter that the magazine was a “racist, xenophobic and ideologically bankrupt publication that represents the moral decay of France”.
He added: ‘The Society of Black Lawyers will consider reporting this as incitement to hate crime & persecution before the International Criminal Court.’
This will have chilling effects for speech as the definition of racism expands at the convenience of government and media. It seems ludicrous on its face to assume that criticism of someone who is of another race must naturally be racist, instead of assuming that they are being treated just like anyone else, since Charlie Hebdo somewhat ineptly mocks everything and anything.
- SJWs attack RPG-style games, causing companies to adopt censorship policies.
RPGs are for hardcore nerds who love Dungeons & Dragons and related games. SJWs however insist that everyone obeys their maniacal doctrine… even when those people are already obeying it. A game called Tournament of Rapists aroused SJW ire, but apparently no one read anything about it, because in the game players battle these rapists, SJW-style. SJWs could not be bothered to do the research and attacked, causing at least one company to adopt an official censorship policy:
Steve Wieck, CEO of DriveThruRPG, issued his final response to the controversy on Tuesday. In a long blog post, they explained that they had come to an agreement with the publishers of Tournament of Rapists, and that the title would be removed from the store.
Wieck also announced a new policy on offensive content, whereby RPGs reported as offensive would be screened on a case-by-case basis. Wieck announced that he would be the “final arbiter” of what was deemed to be too offensive for the store, and informed readers that he would “err toward including content, even when it challenges readers and deals with sensitive issues, so long as it does so maturely and not gratuitously.”
This continues the assault on free speech in games on the basis of “moral” grounds known as Social Justice, which apparently holds that everyone must tolerate and pretend to like everyone else at all times, or you are all very racist. As with other forms of speech restriction, this plays right into the hands of governments and corporations who wish to find a way to restrict criticism of their immigration, H1-B or other policies.
- The Supreme Court has made it harder for local governments to crack down on political advertising.
You know those political signs that pop up like mushrooms or exhumed corpses on lawns during election season? One local community regulated them, and the ensuing lawsuit made it to the Supreme Court, which ruled that not only was there nothing wrong with the signs in question, but that local governments did not have the power to regulate advertising of that nature.
From the New York Times:
Though just two months old, the decision has already required lower courts to strike down laws barring panhandling, automated phone calls and “ballot selfies.”
…The key move in Justice Thomas’s opinion was the vast expansion of what counts as content-based. The court used to say laws were content-based if they were adopted to suppress speech with which the government disagreed.
Justice Thomas took a different approach. Any law that singles out a topic for regulation, he said, discriminates based on content and is therefore presumptively unconstitutional.
On the surface this appears a win for free speech, but may experience pushback as it ties the hands of localities to stop nuisance behaviors like panhandling and automated phone calls. Time will tell whether the court is accountable like elected politicians are supposed to be, or if this type of restriction is permanently gone.
There’s our roundup for this week of juicy censorship and speech rights related stories for you. Hang tight for more anarchic fun in the weeks ahead.10 Comments
Death to False Metal Festival hopes to create what they hope will become one of the premiere metal festivals in the US. Sponsored by Metal Insider and Earsplit PR, the initial gathering will take place Friday, August 14th and Saturday the 15th at The Outer Space & Ballroom in Hamden, just outside of New Haven, Connecticut.
Advance tickets for both days of Death to False Metal Festival are now available at THIS LOCATION.
Death to False Metal Festival also was recently featured in a festival season guide at Heavy Blog Is Heavy RIGHT HERE.
Death to False Metal Festival 2015 Lineup:
8/14/2015 The Outer Space & Ballroom – Hamden, CT
w/ Whiplash, Valkyrie, Imperial Triumphant, Nightbitch, Vengeance, Bedroom Rehab Corporation
8/15/2015 The Outer Space & Ballroom – Hamden, CT
w/ Krieg, Secrets Of The Sky, Immortal Bird, Destroyer Of Light, Godhunter, Secret Cutter, Tomb & Thirst, Grizzlor, Archaic Decapitator1 Comment
Graveyard of Souls is out now on Kaotoxin Records. The album is available on digital, CD and limited-edition vinyl and is on sale now at www.kaotoxin.com. Produced at both the Blackout Studio (Enthroned, Emptiness) and Sainte Marthe Studio (Arkhon Infaustus, Deep In Hate, Department of Correction), Graveyard of Eden is the follow-up to the band’s 2012 debut Black Throne of all Creation.The album was released on March 9 as a limited-edition (500 copies) deluxe DigiSleeve CD (Digital version and North American released on March 10). Vinyl treatment – white collectors vinyl (100 copies) and standard black (400 copies) – was made available on April 13.
Greyhaze Records is set to reissue Goetia, the second full-length album from Brazilian black metal horde Mystifier. Originally released in 1993 by Osmose Productions, Greyhaze Records has restored and remastered this black metal milestone to ensure each venomous track permeates the listener’s senses to the fullest effect. In addition to the 10 tracks that appeared on the original release, the CD version of the Greyhaze reissue features three live bonus tracks. The album is available a six-panel digipak CD and double vinyl LP (black vinyl or red w/ black smoke vinyl). The vinyl version does not include the bonus live tracks.
Commanded by Witchblood composer Megan Leo, Idis Örlög creates acoustic folk music with accompaniment by flutes, pipes and other indigenous European instruments, sounding very much like a better version of the Celtic and German pagan folk bands which show up at Renaissance Faires across the United States. What makes The Spiral Tide of Seasons stand out is its capacity for capturing a mood that is less influenced by popular music and more concerned with the timeless and original, expanding on its themes with a perspective that carries forward the eternalist thoughts of black metal into a new genre.
Songs feature guitar as the primary instrument but are guided by Leo’s voice, which is alternatingly soothing and harsh, and uses that variety more in the way a storyteller would than in the flattering methods of bands you hear in bars. Absent are excessively hookish choruses over decorative verses, and in their place songs find a gentle pace of narration which allows lyrics and sound to coexist much as they have in the bardic tradition for centuries. As each song develops, it achieves a different kind of intensity by melding and subtracting the different layers of voice and instrument, shaping not just an atmosphere but a relationship between the vocals and the individual human. Although an acoustic guitar features primarily in this process, the style of playing more resembles the selective picking of unique textures of black metal than the rote application of known crowd-pleaser patterns that you find with coffeehouse ballads. These songs find their own pace and their own destination, which allows the instruments and vocals to follow along like a descriptive chorus, instead of shoving “emotional” moments into our faces repetitively like the kumbaya rockers do.
While many of us are still scarred from the burst of popularity in the 1990s that brought us Jewel and other new age acoustic folk players, Idis Örlög takes a different pace which more resembles the tradition of sung poetry than the popular music tradition of self-based description. Its songwriter knows how to make a phrase not just infectious to the ear, but develop over time into an appreciation within the listener for it and its related musical ideas, crafting a varied and unfolding experience while detaching its audience from the mundanity of everyday existence and immersing them in a different world.4 Comments
Many of us old school death metal fans watched the rise of zine Codex Obscurum with growing interest because it, like Glorious Times and Underground Never Dies!, represents an attempt to look back at the underground and figure out what made it as powerful as it was. Part of the answer is selectivity, which is a gentle person’s form of “elitism,” meaning that one selects quality over quantity and vigorously promotes and defends the quality. This is what zines did, what radio shows did, and what labels did, back in the day, by choosing some bands over others. The vague smell of blood in the air is the shadow of long-forgotten predation and natural selection that also shaped us as humans, which means not so much “survival of the fittest” but that all who make a meaningful contribution get kicked upstairs and everyone else is forgotten.
Codex Obscurum represents the best kind of selectivity because it targets bands of note but does so broadly, thus you avoid both the “hey kids, everything’s great!” attitude of the commercial providers and the narrow perceptual slot of the kvlt vndergrovnd. This issue advertises swamp death metal band Autopsy, second-wave crust band Doom, cavernous old school death metal band Blaspherian, multifaceted heavy metal/folk band Primordial, melodic drone metal band Sacriphyx, abrasive occult death metal band Father Befouled, Icelandic modern black metal act Svartidaudi, and several more. While not everyone may like (or admit to liking…) these acts, the spread makes it clear that both broad-minded attention to music itself and a high level of standards apply here. This explains why the editors of such a zine might want to go underground and stay there, where they are not beholden to the ugly cycle of advertising revenues and thus being asked to pimp the latest platter of re-heated Carpenters tunes spray-painted with the vaguest appearance of “metal.” Indeed, Codex Obscurum is funded entirely by user purchase price, which is why for $5 or so this arrives at your door with no ads.
For the uninitiated, this zine presents the old school zine style in every detail, which is both practical and a nice atmospheric touch. The hand-numbered issues, the xeroxed pages complete with copy artifacts, occasional typos and sometimes surly answers to perfectly reasonable questions by bands who clearly have done too much press lately, all factor in to the appeal. Use of cardstock for the cover gives this issue a more permanent feel than older photocopied heap zines had, which shows a positive advance of technology. Similarly, quite a few of these interviews seem to have occurred through email, and the use of office software to lay out the zine makes it more readable. The rest is pure old school, from the writing style which is both personal and projected into the mind of an idealized metalhead, looking for that nearly indefinable quality that makes a metal band distinguish itself as a classic in the making rather than news of the week.
The primary content for Codex Obscurum is provided by its abundant interviews, which are conducted in a familiar yet inquisitive style, like the best of Joan Didion-influenced hip journalism before it forgot the word “investigative” in its title. These questions aren’t all softballs like you would expect in a mainstream magazine, but sometimes force bands to confront their own internal struggles for self-definition. To their credit, most of the bands here rise to the occasion and reveal their thinking and intentions in the actions they have taken. The Doom interview is particularly revelatory as the interviewer walks the band through the past and makes connections to consistent patterns across their career. The Autopsy interview makes for a stunning read since it is Eric Cutler giving a candid and somewhat aggressive portrayal of where the band is and how past events shaped their present outlook. The Svartidaudi interview goes in-depth into how this band is struggling to find its own voice while under onslaught from the many trends of current black metal, despite being inspired by the best of the past (which is different from being inspired by the past alone). One oddity that would be called a “quirk” in any less just-the-music-ma’am magazine is the lengthy interview with the creator of the RPG Cave Evil, which accompanies the amazing artwork from that game with a nearly existential exploration of the purpose of RPGs themselves.
You cannot defile nuns
While wearing sweatpants.
The sizeable block of reviews at the back of Codex Obscurum show where this zine is determined to keep its hand in the current music industry. Any band that is roughly connected to old school death metal and black metal, with a wide spread because of open-mindedness, qualifies for inclusion here. These reviews take a conversational outlook which seems too removed from the music at first except when you realize that it’s gonzo journalism of the first order. When writing about metal, don’t pretend you are not a metalhead; it’s a lie. Further, think of what you like and then extrapolate to what others like. It helps them shop for music. It also avoids troubling pretense and complications as reviewers try to get more “in depth” and end up producing thousand-word inspections that result in no clear conclusions. Here, the conclusions are clear — in fact, one section even puts them in Haiku form — and give roughly the kind of synopsis one would get from an experienced record store owner, label head or producer, issuing forth a rough summary of the band, its importance and its staying power and audience, in about a sentence each.
For the past several issues, Codex Obscurum has reserved its final pages for experimental content. In this case, it is facially an inspection of why a famous metal musician flaked on an interview… and beneath the waves, a deft revelation of the disintegration of the underground into warring self-interested parties while no one keeps their eye on the wheel or the road. That leaves the future of the genre up in the air, since everyone is too busy cashing in to steer, and the results are about as you might expect: all the has-beens in warmed over hardcore, emo and indie rock bands have rushed through the breach and set up shop making parasitic versions of the older material, except nowhere near as good. Codex Obscurum shows a good way to reclaim the past of the underground for the future, namely to start paying attention to the steering again and to be unafraid to be selective and to not give reasons why some bands simply suck. Just be honest. The editors and writers here have given it their best shot and it makes for not only informative and entertaining reading, but a glimpse into the old days without the smarmy fug of solicitous nostalgia for marketing purposes that normally hangs around such ventures.5 Comments
The semi-reclusive Varg Vikernes, sole composer of Burzum, has announced his plans to release a film and a new role-playing game (RPG). As part of the film project, he has revealed a new track designed to act as part of a soundtrack for the film.
As if influenced by some of the non-black-metal soundtrack material from the film Until the Light Takes Us in which Vikernes, as in Lords of Chaos, the most in-depth story of black metal before it, Vikernes opts for a down-tempo single guitar track with no distortion.
The result utilizes a slow and gentle sweeping arpeggio behind which lower notes direct the evolution of the track, much as happened with the countertheme in “Rundgang um die transzendentale Säule Der Singularität” from Filosofem. As the song goes on, these layers interact to push change into the main theme, not in the electronica method of circular layers, but the metal one of a narrative expanding from within itself.
It is hard to tell if this is the type of material that will be on the forthcoming Burzum album Sôl austan, Mâni vestan. While many consider the “keyboard albums” among the band’s best output, a mixed-medium album could be interesting. While this new track has one foot in that world, it also has one foot in the more audience-geared world of the last few Burzum black metal albums.19 Comments