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.
Black metal like most underground metal compares to Romantic art because it has a passion for nature, the raw power of the universe and the emotions which are true in the human being. This inherently rejects the false madness of the madding crowd but most fans of Romantic literature never get to that phase and translate its meaning into nature fetishism and self-pity. Infamous restore the Romanticism to metal with a dark nature worship album that preserves the savage beauty of this genre.
Deriving its basic approach from what can only be described as the more ambitious early Ancient compositions applied to the thematic material of early Enslaved, albeit translated to a country far from the frozen north, Of Solitude and Silence drops into a lush series of melodies that maintain distinctive shape and expression in both rhythm and tone, allowing Infamous to weave songs of multiple contrasting themes that conclude in a beautiful rising of mood from within. These are outright sentimental, like work from Graveland, Sorcier des Glaces or Immortal on Pure Holocaust, but if you can get over that vulnerable yet accessible and stately violent emotion, much excellent songwriting is found therein. Infamous primarily rely on the renowned black metal high speed tremolo strum overly slowly changing drum patterns, aided by reverb and closet-muffled production in achieving its atmospheric ends, but the strength of each song comes from the ability to put riffs together in a coherent form which nonetheless maintains internal contrast to create the sensation of motion and change outside the individual, which is where the essence of the black metal sound (and Romantic poetry) originates.
Instrumentation takes a path for simple but effective, with guitars avoiding complex technique in favor of complex riffs of basic power chords and arpeggiated chords at a slower polyrhythmic strum. At some point, this drummer has listened to a fair amount of hardcore or Oi, possibly even verging into Ildjarn-worship. But the essence of this release remains the flowing longer instrumentals of early black metal experimentation, a source of great potential it never followed up on, and by indulging these in a layered sense of emotion Infamous creates an entirely transporting musical journey. While this one fell off the radar for most of us, it presents one of the more capable and visionary concepts of black metal after the first wave from Norway.
We all want a powerful underground. The way to achieve that is to be harsh, cruel and unrelenting in our judgment of underground-style bands, or we permit lower quality to become the standard, and then because that is easier, it is what we will get. What we signal we accept becomes the norm. It is essential to be cruel to bullshit releases, and Desolate Shrine The Heart of the Netherworld is tryhard blather that permits introduction of modern metal tropes into old school metal while failing to achieve the power of expression that is the defining factor of old school underground metal.
On its surface, The Heart of the Netherworld is melodic doom-death. Under the surface, it consists of tired chord progressions and techniques worked around utterly repetitive songs which move in a wholly circular fashion and achieve nothing. The vocals pick up the modern metal trope of open-throated riding of the beat, putting the vocal in the lead role and deprecating guitar. That is as well, as no unique or expressive riffs fill this album. Instead, sort of like a slower degraded version of Nile, Desolate Shrine adapt rock riffs and add a few accidentals but tend to focus on a melodic interval accented by a strumming or arpeggiated pattern. The result is a form of churn, both at the riff-level and the song-level, which results in total boredom and directs the focus at the vocals, as if the vocalist were a parasitic organism that took over the brain of this band.
In addition, Desolate Shrine works in a number of modern metal patterns such as the recursive strum, the post-metal drone and (most odious of all) the chromatic ratchet turnaround that bad hardcore bands have been using for what feels like 40 years now. Aesthetically this album is exciting, but once you pop the hood and look inside, you realize it’s not a Mustang but one of those little Fiat microcars that sound like kitchen mixers that have been oiled too frequently. The underground is not a surface flavor; it is a way of composing, and to reach that stage, a way of thinking. Desolate Shrine have not taken the first step on that journey but have stepped off on another route.
Some things don’t age well, like mayflies or disco. Certain voices in the mainstream rock media have applied the same criticism to traditional heavy metal, claiming that its days have come and gone. Fortunately, they are incorrect as is evident by bands like Infernal Manes who continue to stoke that old flame without being solely a repetition of the older days in celebration of glories departed. But this band has its own very modern take on the ancient art of heavy metal.
Infernal Manes comes to us from the cold coasts of Norway with their self-titled debut LP. These traditional Norsemen have composed an energetic album of melodic heavy metal that tips its hat to Iron Maiden and Mercyful Fate. Songs follow the standard verse-chorus format, but this imaginative album delivers not only heavy metal ancestral nostalgia but highly effective songwriting that knits together compelling riffs into an effective, cohesive format that provides the listeners with a spirited voyage into the days of yore. This band would stand on its own in any age but as we live in the present, it chooses to comment on the long and interesting history of heavy metal.
The only downside to this album is that it occasionally suffers from “Crazy Train Syndrome” — named for an Ozzy Osbourne composition in which an enigmatic chorus riff was paired with a joyous, almost witless bouncy hard rock riff in the verses — in which a few randomly emotionally jarring riffs disrupt the otherwise concise flow of the songs. For the most part however songs fit together well like the fine craftsmanship of a traditional artisan. Infernal Manes deliver exactly what you would expect from an old school heavy metal band, but with a bit more precision and efficiency. Complete with heroic and anthemic passion, Infernal Manes ensures that the old flame remains lit.
A few speak the truth, but most lie, not because they mean badly but because they think it helps them “get ahead.” Later do they learn that unearned merit simply means they are trapped in a world of having to uphold false images and it destroys their souls. To avoid this, we just cut the chaff from the wheat with pure linguistic and musical cruelty. Welcome to the latest installment of Sadistic Metal Reviews: come for the tears, stay for the (occasional) corn in the turd.
Rippikoulu – Musta Seremonia
Musta Seremonia is clearly B-level death metal that imitates many of those that went before it in the 1989-1991 period. It is excessively primitive, like Grave or Obscurity. Much of it tries to be doom metal, which is — with a few notable exceptions — boring music for boring people. Expect cudgel-primitive low-end power chords rumbling against each other and moveable melodic patterns which create an atmosphere of forward motion and near-symmetry. Like the best of the doom-death slice of the death metal genre, including Asphyx, Miasma, early Atrocity and Funerus, this band creates a grinding atmosphere but refuses to make it wholly repetitive, creating the sense of a plane flying through a ruined city to observe new interactions each time like disconnected visions of a mad prophet. The point is to lower you into the darkness and not let you up, which is excellent as an experience but like many bands in the doom genre, probably not an everyday experience. Unlike its contemporaries, Rippikoulu understand how to put contrast into a song and yet keep it focused on a goal of expression, even if in utter primitivism this goal is so basic as to be very similar from song to song… If this band falls down, it is the intersection of the disadvantages above that brings it down: the B-level death metal with citations in rhythm or melody from Amorphis, Incantation and Deicide; the repetition and relative similarity of approach; and the extremely basic nature of these riffs which, as in Swedish bands like Uncanny and Suffer, can create a sense of pervasive doom bordering on total entropy instead of preparing us for reconquest of the wasteland in the name of terror. And yet, Musta Seremonia lives on with infectious rhythms and a distinctive presence to itself which distinguishes it from others who have traveled this lonely path. It is less rhythmically recursive than Grave, and songs hold together better than Obscurity, and it does not fall into the reheated speed metal patterns which doom Insanity and Num Skull. It simply thunders, aiming to be primitive and basic in the same way Belial or Agonized. While this will not hold a candle to the best of Finland, like Demigod Slumber of Sullen Eyes or even Amorphis The Karelian Isthmus, it stands above the other retrospective acts for at least having a sense of purpose.
Deconstructing Sequence – Access Code
Tragically progressive and technical metal have become gigwise, or in other words are composed for an existing audience on the basis of what they have liked in the past, instead of forging their own path to attract an audience on the musical merits of the composition. Deconstructing Sequence launch into this arena with a highly informed, creative and periodically musically elegant entry which bears a second look. The surface adornment will unfortunately drive away many die-hard fans and simultaneously attract the type of greebos who were drawn to Opeth because it made them look musically profound among the fedora m’lady crowd of NEETs and hipsters. Much of the surface aesthetic involves voice overs about space landings, lead guitars that cleverly emulate the beeps and quirks of digital computers, and jazz fusion-inspired riffing that mates the ultra-texturalism of Meshuggah with the harmonic depth that bands like Dream Theatre and Gorguts used to establish contrast for their melodic themes. A mixture of Pestilence from its technical years with Dream Theatre and Meshuggah might accurately describe the sound, but the composition here hearkens back to simpler — think Rush or Camel-level — interpretations of mid-1970s classic progressive rock, although this is sometimes hard to find under the layers of postmodern configuration. Underneath all the layers, much of the riffing here as in Meshuggah is the same early 1980s speed metal where guitar serves a purely rhythmic role with a secondary melodic role, as harmony is impossible, thus adopting the chromatic fills that death metal later turned into phrase; a comparison between Meshuggah and Linkin Park is appropriate because they both have their origins in blending this essentially keyless, harmonically-moveable style with jazz fusion and rap/rock respectively. If I have any advice for this band, it is to lose everything but the music. We’ll understand the space exploration theme from the cover and the Hal 9000 guitar noises. Then it might make sense to worry less about writing the heavier riffs and to focus instead on why people will like you, which is your harmonically-rich composition in which melodies stand out in context and are not used as a production quirk-cum-purpose as they are in most “melodic death metal” bands. Access Code compares favorably to works from Sadist and other progressive death metal bands even if its heart shares dual loyalties in the 1990s and 1970s.
Sacrocurse – Unholier Master
If you want to make metal strong, be hard on metal, especially of the type you like best. Otherwise, in the absence of quality control, that which is mediocre and predictable but familiar gets promoted and any musician who wants his or her work to be heard will avoid that genre like the plague. This is the problem with the NWN/FMP attitude toward classic metal, which is to find an aesthetic imitator that is “true” by being extreme and unrelenting and uphold it as an ideal. These bands are neither satisfying with the same musical punch as the individuals had, nor do they present a quality level markedly different from the newer metalcore hybrids, and thus they maintain a small but diehard audience while driving everyone else toward the newer material. In this way, the “underground” labels maintain a symbiotic relationship with the big media pap labels dumping warmed over hardcore with jazz fusion fixins onto a clueless audience. Unholier Master on its surface fits the underground with charging power chord riffs and extreme death metal vocals under high-speed drumming. The problem is that every riff on this album is excruciatingly obvious and repetitive, song development is near zero, and the main focus has thus become the vocals chanting repetitive but semi-catchy choruses. This reduces death metal to the same level of entropy that speed metal hit toward the end of the 1980s when tons of bands appeared who composed with almost exclusively chromatic rhythm music and hoped to distinguish themselves with vocals and increasingly random guitar solos. This album is an insult to the underground; throw it out and embrace natural selection instead, or you weaken death metal with your good intentions.
Monuments – The Amanuensis
Excruciating: soaring Gospel-like power metal suddenly breaks into some dude… rapping… in a death metal vocal. The album proceeds in this pattern, with simplified (but less chromatic) Meshuggah style riffing banging out hard rock tunes and then, as if nu-metal went underground, the rap-influenced death vocals kick in. The whole thing seems designed to distract at any given moment which is probably palliative care for the listener who presumably could not be dissuaded from putting the album on and, short of a power failure, will not be immediately delivered from it. Not only is the heavy metal part of this music as cheesy as humanly possible, the brocore rap/metalcore side of it is as insulting to the intelligence as possible. If you are a person of no intelligence who likes stupid things because they make it seem like the world is compatible with your utter lack of positive mental attributes, purchase this immediately and get the tshirt too so we can spot you at a distance, adjust for windage and elevation, and do what is necessary. An experienced listener hearing this is immediately embarrassed for the band, and those who listen, and those who accidentally must hear this album, which would confirm every negative stereotype of metal (maybe it is a counter-astroturfing effort by vegan techno bands). It combines everything stupid in rock, rap, metal and inspirational music into a single ball of string which drips a fermented slime of human oblivion over all that it touches. While normally I oppose censorship, this album makes me re-think censorship on a level of excluding bands of poor musical quality, since all this album does is create a heap of landfill that even bacteria will find insults their intelligence.
Infra – Initiation on the Ordeals of Lower Vibration
From the tryhard realm of the underground comes love for a new type of band that combines the simplistic Blasphemy/Incantation clone with “high art” and produces music that seems stately, deep and profound. Somehow all of these bands explore spiritual philosophies or ancient religious texts and invent large mythos for themselves. This parallels the tendency of nu-metalcore acts to write about whatever literature they remember from high school, or spiritualist topics of peace and love like Cynic did, which is a way for metal bands to improve their image through pretense. The problem with this approach is that it leads to a flood of metaphysical bullshit which is ill-advised for bands to mention. This band from Portugal, and that fact seems important from the bio, makes this new hybrid low/high-brow grinding black metal. Where Blasphemy channeled the id, this music may be too self-conscious, but is nonetheless well-executed but from these two tracks create a lukewarm effect because song-form and “purpose” rather than content dictate what occurs in each song. Thus we have songs about songs, a kind of theory about black metal, and they never come to a point. Further, they like to stack primitive riffs up against melodic ones, which creates a kind of “precious” response which is every bit as contrived as numu bands switching from distortion and shouting on the verses to acoustic and singing on the choruses. On Initiation on the Ordeals of Lower Vibrations, the black metal moments express themselves and fade into the background as we wait for Profound Moments… but these come not from this kind of preciousness, but in the form of melodic/atmospheric material that exemplifies the best of the old school, both simple and evocative of events in life.
Bleed – Seven Billion Demons
What is it that is so appalling about judging a band by its style? It is OK with some forms, clearly, since no one ever said “Well, you shouldn’t write that band off just because they’re disco.” But in metal we shy away from it, ignoring the fact that some styles are designed to reduce music to what attracts like moths to flame the most basic, blockheaded and purposeless human tendencies. Brocore is one such genre, and while Bleed is clearly above-the-fold brocore, it is still brocore: the ranting speed metal of Pantera, updated with the chromatic riff texture noodling of Meshuggah, but simplified to fit around hard rock chord progressions in the background, against which all the riffery serves as simply decoration. Thus when you peer down into the core of this album you find something closer to Look What the Cat Dragged In or Hysteria than Meshuggah or Pantera, just done up in a new (or should I say… “nu”) aesthetic for a new generation of the credulous and inexperienced who will spend their parents’ money on dreck that will keep the slacker jobs program known as the music industry operating for another year. No offense intended slackers, and none taken; as a proud slacker I defend the right of everyone to slack off as appropriate, but wish the music industry would admit this fact and stop wasting time with clear filler. Nothing on Seven Billion Demons is badly executed and in fact the album as a whole is quite professional, just empty, like a streetcar at night or an entry-level job. Thus if you have a soul — and you might if you’ve kept reading this far, not sure — you should probably avoid this. But if you’re looking for Brocore 2.0 and something to chant along with as you drink beer and (no homo) wrestle with your buddies at a keg party on the beach, Seven Billion Demons may be for you. Kegstand!
“You know kid, uhh, usually when someone pulls shit like that my first reaction is I want to punch his fucking lights out. But you know something? You’re all right!” Most re-visions of older works by popular musicians end in tears and terror. This one re-creates three classic Amebix tracks in a form the band suggested was always intended but was not possible owing to the primitive production and living conditions of the day, and Amebix surely knew that their fanbase — who grew up on the versions as they were — would approach this with trepidation and skepticism. But there is no easy review for this disk.
Redux does not fall into the usual trap of making a glamorized and overly-slick version of the past. Instead, Amebix restyle their foundational songs more as if Metallica and Prong had collaborated to emit a dystopian metal album. Double-picked muted downstrumming and faster tremolo strumming all make an appearance, along with approximately half the vocals which are a hybrid of the Amebix style of Motorhead-influenced distorted vocals and the bassier, gnarlier death metal vocals to follow. But what is really surprising here is how these songs work very well given the high intensity treatment, which transitions them from a kind of contemplative and mournful look at our world to a savage Nietzschean attack of those who want to hoist the black flag and slit some throats. There are times when, much as happened on the first Burzum LP, these vocals are simultaneously so vulnerable and savage that they convey a sense of total commitment to desperate acts.
In addition, the more rigid playing of these riffs and uptempo approach gives the entire EP a malevolent vibe. These songs were great in the past, and they would be known as great here as well had this been the past. That being said, it will offend many punk purists and metal purists alike, despite having faithfully upheld the spirit of both genres. Not only that, but the haunting and unsettling sense of peering under the skin of our society and seeing underneath the makeup and credentials a swarming mass of crawling horror remains and may be intensified by this more assertive re-creation. While I liked the album that followed, I would gladly sign up for a full album of Amebix songs in this style as well.
King Crimson demonstrate within older radio rock style how to destroy the limitations of pop music as a compositional style, both removing popular conventions and launching their own musical lexicon with Red. This group is noted to have influenced Black Sabbath and have in turn influenced the black metal and death metal produced a generation later. Although progressive rock differs in aesthetic and ideology, the fundamental spirit is shared with these extreme genres much as despite their internal diversity they find commonality between radically dissimilar acts, much as Burzum and Sentenced do not share an ideology but have the same approach in spirit to life and music.
Red joined us in 1974, after the great hippie meltdown of 1969 but before the truly industrial product music of the 1980s. Harmonic rhythm notes jump across power chord riffs while motifs range across genre techniques from rock to heavy metal music in an assortment of ecclectic jazz beat music. Much as in the solo careers of these musicians, the music acts as a sort of sponge for influences, styles, techniques and ideas, but remains at its core the kind of imaginative progressive rock that drove Jethro Tull, Yes and Aphrodite’s Child. Notably electric guitar feedback loops amplified by acoustic resonance of room sound are used to produce a sonic resonance and lead melodic development, often resembling keyboard orchestra sounds as they define each song by developing atmosphere through the contrast between texture, tone and phrase.
Vocal songs as popular formatted compositions show movement rather than immediate resolution in music. Violent minimalism becomes eerily present as a lead guitar tone, carving sonic landscapes through sustained notes ringing in what would be describes as loops in ambient music, then intensifying these repeated patterns by doubling the guitars with crushing distortion. Songs show use another method of composition as opposed to the conventional rock major chord resolutions of popular music. Harmonically this album relies on half-steps followed by whole notes in a style then typical of the jazz fusion movement in rock. As if paying tribute to ancients, the rhythm is very rich with guitars producing massive sustain, reminiscent of DBC. A power chord motif leads order into disorder as the leitmotif is repeated inconsistently inbetween chaotic passages of large intervals creating sense of horror. Robert Fripp later innovated minimalist music playing his electric guitar through a tape feedback recorder and distortion and the nascent elements of that idea appear here as well.
If you went to an opera hall for a music performance, “love me do” pop-rock would not provide a sufficient intensity of experience. Redundant and eventually contradicting itself in political dogma, the rock format remained the same — guitar, bass, drums and singing lyrics — as the medium proved adequate enough to express a much wider range of music than what the format was originally intended for, but this required innovation in style and substance as King Crimson set out to do and succeeded with brilliantly in Red. Exceptional guitar works can be found still within parts of songs for those who take the time to listen to the whole album, which creates a feeling of mixed rock, jazz and classical music. The mythological, lyrical content of King Crimson continues a long legacy, reminiscent of much older works of this band, which continues through progressive rock to the underground metal of today.
This re-issue gives a classic black metal treatment to this underground powerhouse, which previously was heard as being more of a death metal album owing to its production more resembling that of the Incantation/Revenant vein of metal, in addition to many of its riffs fitting within the same form. With more spacious sound, the album sounds more distant and less loud which gives it a background resembling that of the Norse black metal which inspired the first wave of black metal. This more resonant sound brings out more of the tone in these songs and allows the melodic sense to shine, giving the album as a whole less abrasion but more atmosphere. As if to underscore this choice, the re-issue includes “The Ode to Eternal Darkness,” a nine-minute song which emphasizes the building of mood through repetition with internal melody in the style of black metal bands recognized more for their melodic sensibility. Although I am a sentimental bastard prone to like what I know, I prefer this mix to the original or the intermediate re-issue and hope the same treatment is given to other Demoncy albums which remain under-recognized despite their high quality.
With art by Chris Moyen and this powerful new sound, the Forever Plagued Records re-issue of Joined in Darkness stands poised to introduce a new generation of fans to one of the top handful of black metal releases to come from the New World.
Cleverness — glib intelligence focused on past good results manipulating an existing system — serves as the enemy to innovation. Balancing that is the notion that what is older is usually better because, human conditions having never changed, that which serves well once will continue to do so until the situation changes (which usually means it is simply decaying and unstable). Ctulu takes us back to 1997 and combines Swedish melodic death metal, Greek black metal and the classic Iron Maiden style of melodic heavy metal for a satisfying listen that is nonetheless non-essential. In this case, “non-essential” means that you can go listen to the original albums for a more complete (less clever) view of the genre, but that Ctulu will be fun for weekend listening and the local or regional metal scene.
Now, the above seems strikingly unfair. After all, Ctulu is a good band, and the fact that they repeat trills and melodic progressions from sources as diverse as later Sacramentum, Necrophobic, Unanimated, Mayhem, Rotting Christ and Piece of Time seems irrelevant to their quality as a band; that is very much true. But what is being played here is not so much the instrument as the genre and the expectation of fans based on those older works, so what occurs is ultimately clever instead of innovative. This band has developed its own voice, but it is a voice that converses only in the context of these past acts. Without them, this band would appear strikingly different but also starkly empty. These well put together songs reflect not an interest in pushing an envelope but in gratifying a need that already exists, which is why by the sixth track the sensation of listening itself has become repetitive more than the music itself. We know what it conveys; it has found different ways of doing roughly the same thing and while most of us will grudgingly admit to adoring the melodic metal sound, it works best in service to a grand or epic vision as in the underrated later Sacramentum speed metal hybrid albums which Sarkomand frequently resembles. Here we have a local band holding the horns and beer stein high, keeping up the tradition, but this is the worst of conservative thinking in that it is creating this tradition from outward-in, not from some motivation within toward an end product, and as a result it trivializes what is here and what was there.
Expect flowing melodic passages which elevate the fill to central position so that riffs may reverse direction through the scale and achieve a sense of rapid motion. Mate that with highly proficient drumming that generally stays out of the focus but frames it expertly, mid-level death metal vocals and heavy metal choruses and you have the basic idea. While most of the riffing is death metal derived and would fit on a Sentenced or Dissection album, much of the underlying song motion more resembles black metal in its choice of atmosphere followed by saturation of that atmosphere and an angsty breakout. Like many bands influenced by this style, Ctulu know how to write a chorus that is both pleasing to the ear and yet carefully hides its addictive tendencies over just enough detachment to make it plausible instead of cloying. At this, Ctulu best the competition and it explains why they have risen above the utter horde of melodic retro death metal bands to be in the position they are in also. And yet, Sarkomand remains an album that is fun to listen to but when it departs, nothing feels missing.
Colombian band Cóndor presents an album which European Romantics might have undertaken had their tastes run to heavy metal, with an explicit influence from Bedřich Smetana and a more subtle yet pervasive inspiration from Jean Sibelius, manifested in a style of underground metal that sounds like Atheist covering Graveland. An organic, fluent and natural flow embodied in sweeping melodies and choking riffs that overcome and seem to grow out of each other independent of the composer, as if taking a hint from a young Friedrich Nietzsche, gives this music a childish and innocent Dionysian center driven by instinct. The result is an album that must be listened to as a whole experience to find the moments which strike us as stereotypically metal sharing space with entirely contrasting ideas which set up the emotional background to those moments of violent intensity.
Unlike modern-day posturing in black metal, Duin looks toward the older tradition of abstract Romantic 19th century Nationalism as expressed in classical music and folk art. Both betray their presence in the use of typically long, modal, easy-to-get melodies of the folk kind. Sibelius lives in that tendency to drift into very paused passages and quiet dynamics seemlessly which was so characteristic of Nadia. In this sense, we could say that while Nadia was a Sibelian album, Duin is more of a Smetana-Fudali-ean album. It exists in a type of magical music like that conceived in Marsilio Ficino’s mind, a form of sonic art which follow celestial designs with metaphor of the spirit such that its effect over us is as sure and profound as that of the Sun and the Moon on the creatures of a forest. These strong ‘authentic’ folk inclinations serve as converging points of most visible influences. There is both a sylvan spirit underlying the music and a warm home-welcoming one as opposed to a warlike and epic one. These last two characters are instead represented in the more energetic passages which do not override the greater scheme of things and instead contribute to a desire for adventure that does not quite reach epic proportions. This follows the general theme of this work as, in contrast to the Apollonian rigid order of Beethoven or Bach, a wandering organic Dionysian spirit which aims to be appreciate from the atmosphere it saturates with meaning instead of a linear narrative progressing toward the conclusion of a musical argument. Like the naturalistic music of Burzum, Duin follows the thought process that repetition of a riff does not end when the composer or audience wants it to, but when the nature of that riff in the context of the song indicates a need for change. A kind of musical “sixth sense” pervades this album.
The first track, “Río Frío” starts off by quoting the last track from the debut album, El Roble Será Mi Trono Eterno for a few measures only to quiet down and performing an adaptation of Smetana’s Vltava for overidden and distorted guitars and bass. The second track, “El Lamento de Penélope” will probably give the strongest impression of this relation to Absurd in its urgent and minimalistic rhythmic riffing. The way the following melodies are carried in triple time reinforce this view until Vltava‘s theme is used in the climax section of the song. The following song, “La Gran Laguna,” is a roller coaster ride which takes us again through vistas of minimalist folk metal with quasi-marching beats and prominent melancolic melodies alternationg with ambient-like sections with a picked clean guitar outlining chords over the roar of its distorted partner. An instance of this supports the song’s solo section, which show off how Cóndor has stepped up even in its melodic treatment of solos which when compared to Nadia display a more mature independence from guitar-scale blocks.
“Coeur-de-lion” starts the visible slowing down and gradual elongating of expression that the album manifests increasingly a step at a time. The riffs are given a different tone by both the change in pacing, along with the playful exchange and duple and triple times which in different inceptions point the music in different directions. With a 2/4 reciting inisting, childish urgency, a 4/4 allowing for settling feeling, a 3/4 for a more bouncy feeling which slowed down and seen differently can be a martial and/or swinging 6/4 or 6/8, depending on the note value. “Condordäle” takes us one step further in what is almost a dirge in the beginning but which allows smooth and sensuous transition between riffs forming layers of an idea, with clear vocals reminiscent of a classical chorus.
“Helle Gemundon in Mod-Sefan” begins with a clear, long and emotional melody line gradually introduced and repeated, but is always interrupted by chords which sound dissonant in the context so as to disrupt the final resolution that we might expect in the line. Each time the line is allowed more time and to soar higher and higher. In the last of these repetitions the song then turns to the riff styling of the aforementioned dissonance-inducing chords, and riff after riff is wrought from this idea until its natural duration is expired. A break is brought which leads into a more conventional metal section comes in which a series of solos in the same vein are played. Mid-paced, emotional, almost aloof and relaxed playing which would not seem out of place in urban underground styles of rock characteristic of Latin America.
“Adagio” is an interlude for bass and clean electric guitars which serves as a beautiful gasping point before the last track, named after the album, that serves as a closing for the album. After the slowing down and exploration of different influences towards the middle of the album, a bit of everything is brought back in this song with a slow beginning which blooms almost inperceptibly harsh, hammering riffs, slow, folk-song melodies in lullabying triple time, which again alternate into a bridge of descending chromatic notes in the classical style leading directly into melodic indulgence in solo and riff proper of that folk metal which displays the transparency of rock and the honeset simplicity of the folk melody.
This is an album in which each song feels “better” than the one before. But when listened to many times one discovers this is not really the case. It is just that the progression between songs and within songs makes it feel as if each new event in the music is reaching towards a new goal, new vistas, but always through the eye of the Cóndor. Just like the compositions of the young Sebastian Bach shortly before and after his visiting Dietrich Buxtehude in Lübeck betrayed the unmistakable mark of the old master in form and method but never bowed down to him so that the pieces were, nevertheless, stamped with the young genius’ name, so does the band manages yet again to sound like itself independently or in spite of its distinguishable inspirations. Sounding like a more seasoned band than on Nadia, the telling silhouette of the Cóndor comes out of the foggy shadows and into a golden Autumn light.