Anyone hoping for a classic or revitalizing take on the black metal genre should take note of the path taken by the acknowledged co-creator of its infamous guitar style: Snorre “Blackthorn” Ruch. On the debut album of his creation Thorns (delayed almost a decade by his misfortune presence at the scene of Euronymous’s murder), he finds himself aided by some of the genre’s most renowned musicians who, through their own bands, shared a similar direction themselves. Although a careful listen reveals that Thorns S/T was able to surpass above mentioned bands on many levels, it is also immediately obvious that it is indeed part of the unfortunate route into industrial/electronics taken by many in the “extreme metal” genre during the early 2000s. Much like their countrymen in Emperor, Enslaved, and Arcturus, Thorns found themselves on a strange journey that an old issue of Terrorizer magazine accurately described as “The Weirding of Norway.” (more…)
Vouïvre has published their EP which was announced a year and a half ago with a neat teaser. Au Gouffre is a result of one-time collaboration between (among others) members of Peste Noire and Malsaint, grounded in more humane individual experiences that were shaped by black metal ideas.
Immolation fiercely maintains its reputation as both innovator and creator of a long run of relevant albums in the death metal genre. The band appeared in Poland on September 27, supported (besides opening bands Sincarnate and In Twilight’s Embrace) by Melechesh and Azarath. In every case the sound was at least good and with their performances they all have made great impression.
Autarcie could be easily dismissed for being assembled from the elements we expect from narcissistic yet generic post-black metal or “modern metal.” Instead, it presents to us a transition between black metal and either assimilation or a new form which is organic and local, and yet while the band does more with the elements of modern metal than that genre, its failure to conquer the modern mindset within precludes it from achieving the ancient sensibility and sensation of black metal, leaving it as identifiably “post-metal” in spirit but second-wave black metal in form.