Some releases go neglected upon release as their poor production makes it too hard to discern what is actually being played for those without neutral high-fidelity setups. Upon upgrading my own, I realized that Irillion’s debut Egledhron EP is one of them. The production is so muddy and filthy that even warm “audiophile” style setups have a hard time discerning what the downtuned and distorted electric guitars are playing. While two earlier Sadistic Metal Reviews from our staff noted the recording as a promising but inferior, listening on a more revealing setup reveals Irillion’s self-recorded musical intentions and goals: Irillion wish to play flowing Eastern European black metal like Graveland with a filthy Joined in Darkness era Demoncy style production and atmosphere and an almost Transilvanian Hunger manner of variation.
Burial is a hipster/ bald beardo band from Manchester, England who claim to play black metal. Unholy Sedition‘s tracks are all pretty short, staying within the radio rock “about 3 minutes” window. Thus all of the songs are arranged like radio rock songs rather than in death metal riff mazes or black metal melodic narratives. Burial do not even try to actually play those genres of music; only to imitate the aesthetics of prior imitations in a poorly done Khyber Pass Copy constructed in a cargo-cult fashion by primitive tribesmen in a pathetic attempt at idolization.
Op de beenderen van onze voorvaderen is yet another another Dutch black metal record heavily influenced by Gorgoroth and Zyklon-B like Tarnkappe. Elfsgedroch however structures riffs as hyper-extended, arpeggiated tremolo-picked chords in incredibly long to the point of droning phrases in the manner of French Canadian band Sorcier des Glaces, who are indeed the band’s primary influence. Clever but occasionally too sappy harmonies similar to Master’s Hammer‘s Bartok and folk influenced heavy metal ones on Ritual but way more annoying pervade the record.
Solitvdo are yet another epic sounding sing-along, rootin’ tootin’, arm swingin’, marble-pilled good time with yer ole partner melancholy. Think Vikinglider Veldi with riffs about a quarter of the length, half the inspiration and none of the thoughtful placement. Riffing on Hierarkhes is mostly inspired by nu-Rotting Christ but with triumphant melodies echoing swords and sandals epics, song structures are mostly sing-along vocal driven black ‘n’ roll about the Romans, culminating in solos by someone just learning to play whose guitar god is not Jupiter Optimus Maximus but Slash from Guns ‘n’ Roses.
Article by David Rosales.
I. Where is the music?
It is very rare to find a general fan of black metal today who has not at least heard of the name of Watain. The kind of fame it has attained, however, is the kind that is mostly based on peripheral affairs rather than the art which Watain is supposed to dedicate itself to. Watain is the kind of ‘entity’ (as most of these bands are now given to call themselves) that is surrounded by a nebulous aura which may at first, if one is inclined to be generous in providing the benefit of the doubt, seem like an hint of something truly profound going on. Now, whether that is the case in regards to the real, transcendent or philosophical knowledge or experience of the people behind Watain is not for the writer to say. On the other hand, the music itself does not seem to display any of the more-than-human qualities it should if one is to believe all the hype. In fact, it reveals itself as a very mundane affair when one is given to delve into a holistic examination of the music in itself, and even more so when seen in relation to the extra-musical portions of the ‘entity’.
An album judged some of The Best Underground Metal of 2016 but hitherto had yet to receive a dedicated review.
Kshatriya‘s Vsque ad Sidera Vsque ad Inferos is a black metal album celebrating the prehistoric conquest of everything from Ireland to India by pastoral Proto-Indo-European peoples from their urheimat located in the northern reaches of the Pontic-Caspian steppe in what is now Russia and Ukraine. The Indo-Europeans were a martial race among the first peoples to domesticate horses, worshiped the sky father Dyeus Pater, and spoke antecessor of most European languages.
Autechre‘s elseq 1-5 is a four hour anthology consisting of five individual EPs, each compiled together loosely upon conceptual coherence between the constituent tracks. elseq 1-5 is an exercise in release format rather than just content; the artists behind Autechre seek to utilize the immediacy of the digital age, releasing tracks “as they go” without traditional limitations imposed by the “album.” Granted of course this collection appeared as a hulking and impenetrable dump rather than a sequence. This point bears worth remembering as this overview proceeds as the temptation to view elseq 1-5 as a complete work, or works, is ingrained in popular habits.
2016 is over. The funderground mentality continued spreading forth, infesting metal over the last year just the same as it had in the decades past the genre’s artistic high-point in the early nineties. Rehashes of past greats pandering to a lowest common denominator audience continue to dominate the release schedules of metal labels all too willing to please the lemmings with music fit to safely ignore during drunken socializing. Ever-flowing streams of posers are desperate to be rock stars, pumping out plagiarism, and paying their way to record deals. File sharing and streaming reducing the cost of hearing new music to essentially nothing has led fans to constantly consume whatever is new regardless of quality. However the purging is at last at hand. The day of doom is here. The filth who have lied and corrupted the underground must be cleansed while the commendable elite few will remain.
Ananku is a term from the Tamil language describing the otherworldly and awesome power of sublime natural places and objects to overwhelm mankind into submission to their will by merely the perception of them. Jarno Nurmi of Serpent Ascending accomplishes this musically on his album of the same name by composing harmonized heavy and black metal style leads atop a death metal rhythmic basic into occult blackened narratives. Riffs are phrased and repeat to numerologically unfold, revealing profound and novel melodic leads as if the petals of a flower gradually blooming into gnostic truth when bathed in unconquered light.