Remember back in the mid-1990s when every black metal musician of repute boasted involvement in at least one dark ambient project? Although the move away from metallic ground towards previously uncharted territories comes across as a farseeing maneuver in hindsight – black metal had after all reached its creative zenith at this point – the lion’s share of resultant products left a lot to be desired. (more…)
Murky and obscure like the style itself, a definition of doom metal proves elusive. Proponents of doom metal uphold it as a qualitatively discrete sub genre within metal on the grounds shared set of aesthetic, formal and ideological particularities that binds together a seemingly disparate conglomerate of artists and styles.
Raven Music Editions is a relatively new company that sells sheet music transcriptions of various ‘alternative’ musics, including black metal. Recently, they’ve published a transcription of In The Nightside Eclipse, Emperor’s classic debut whose quality and notoriety should require no introduction. While the rest of their catalog is fairly limited at this point (consisting of two non-metal albums by Ulver), supporting the company by purchasing these transcriptions at their website may allow them to transcribe more music. Given how much you can learn about a work of music from reading it and analyzing it, it’s my hope that this company is able to continue their work. I’d also like to hear from anyone who does end up purchasing these transcriptions, since the very act of putting music to notation involves some interpretation and opinions are understandably going to vary on how Raven handles that.
Article by Lance Viggiano, read the more positive DLA review here
1993’s Under a Funeral Moon displays Darkthrone at their peak of creativity with a depth of vision that is initially challenging and abrasive yet contains a high degree of musically which constructs an experience out of relatively simple components and nuance whose reward is inexhaustible. Many place the decline of the band somewhere between 1995’s Panzerfaust and its follow up Total Death; in truth, Darkthrone as a creative force reached its nadir on 1994’s TransilvanianHunger.
Unlike its predecessor, this record lacks in subtly and nuance. Gone is the inventive call and response of “To Walk the Infernal Fields”. The listener is mistreated by being deprived of the atonal, uncomfortable but highly inventive melody of “Natassja in Eternal Sleep”. Within the first minute, one will have gotten the gist of each track as the songs remain in a static pulse of two or ideas with a third idea serving as a bridge back to the initial thoughts, an interjection or an outro. Any relationship to an underlying narrative is tenuous to the charitable and absent to the honest. This is not a call for novelty in music as over time nothing remains novel; rather, it reveals a lack of dynamic character which offers no reward in a full listening of any track here; especially after the initial novelty fades with repeated listening.
As a piece of minimalism, this record fails abjectly. What is found in the successful minimalism of Eno, Reich – or perhaps Kraftwerk in moments – is the layering of simple ideas composed for multiple instruments in which absolute simplicity is woven together to create evocative if not complex art. Darkthrone instead chose to compose only for the guitar. The bass follows root notes of the guitar in a paltry attempt to give body while the drums meander near ceaselessly on a blastbeat which is only occasionally broken by an uninspired fill or a canned metal pattern. Their inclusion is questionable and unworthy of discussion or serious consideration. Their merit is valuable only to a critic as a display of the artists’ lack of confidence in leaving behind genre tropes to achieve a full realization.
Where the album finds success is by pandering to the overly sentimental via – admittedly – effective melodies and well executed aesthetics. Neither excuse the sheer laziness of construction nor the complete dearth of rhythmic variance and supportive content to fill out the body of the music. Instead what is presented is weightless and immediate music whose significance can only rely on memory of time and place; a sense of nostalgia for the first experience. It is thus difficult to discuss the emotional qualities of this music due to the near loss of artistry on part of its creator(s) which robs the record of any vitality and spirit. The music is heartfelt and bittersweet – with varying degrees of success – but ultimately it exists, at best, as audible candy for the melancholic.
Transilvanian Hunger‘s inability to grow with the listener over time and its misapplication of minimalism, despite containing a strong melodic component, places the record just a slight cut above the bargain bin. 2/10
When people mention death metal bands, they cite a short canon of Morbid Angel and Deicide. If this album had been of higher quality, Incantation would be the third on that list. Following the immensely powerful Onward to Golgotha, Incantation stood poised to take over American death metal with their unique sound and quality songwriting. On Mortal Throne of Nazarene, the band took a huge dive into a lesser category and were as a result bypassed by many fans.
Many factors may have influenced this decision. Relapse Records was at the time trying to grow large enough to be on par with bigger labels like Earache and Roadrunner. Incantation despite having a stable line-up benefited from the contributions of past members such as Paul Ledney and influences from other East Coast bands. Immense pressure was brought to bear on the band to make another Onward to Golgotha two years after their first album, during a time when rumored internal friction caused lineup changes and the semi-permanent departure of drummer Jim Roe and loss of bassist Ronnie Deo. As a result, those two years may not have represented the length of time the band had to write, incubate and revise this album.
Immediately noticeable is the primal flaw of this album: chord progressions and melodies used in fills are more obvious, or cut more exactly from scale patterns, which gives it an almost sing-song vibe at times. Rhythms are less fully integrated which causes the band to attempt ambitious forms but then fall back on relatively brown-wrapper metal tropes. The band incorporated many of these tracks with rhythm re-written on their followup EP The Forsaken Mourning of Angelic Anguish where changes in pacing and arrangement made them far more effective. This confirms much of what listeners felt, which was that Mortal Throne of Nazarene may have been completely written but it did not undergo the revision, editing and incubation process that mellowed Onward to Golgotha into a finely honed shape where no detail was extraneous and all parts worked together toward the impression conveyed by each song. Relapse promoted this album as more “technical,” back when that buzzword was new, meaning that there are additional chord shapes used and some difficult tempo changes, but it was not as well-integrated nor as purposeful.
Mortal Throne of Nazarene overflows with good ideas but they do not work together toward an end, and parts of it like the last half of Suffocation’s Breeding the Spawn sound like chromatic fills in regular rhythms that the band intended to revise later into full riffs with unique modality and rhythms more carefully enwrapped in the need of each song. Vocals are stunning as usual, production is much clearer, and individual performances show musical maturation and the type of learning that comes from having influences among historically important metal bands. Some songs remain standouts even in their partial form like “The Ibex Moon” and “Abolishment of Immaculate Serenity,” which shows the band perhaps coming together at the end of their song process, or having intended those since the beginning to be the bedrock of this album but having been lacking time to make the rest. But unlike Schubert’s Unfinished Symphony, this album is not just unfinished but incomplete, and the result shows in the mixture of random and predictable that obscures otherwise powerful songs.