Gevurahel – Un Nuevo Amanecer Satánico (2019)

Coming back not with a reformulation or evolution of their sound but a deepening of their purpose, Gevurahel give us a new presentation of old and new compositions that fine tune their expression of satanic devotion. The musical style has been boiled down to essentials of unity and comprehensibility, letting the variation and exploration take place in a more controlled way. These designs are not random nor do they respond to a musical urge, but rather to an inner insistence upon necessity with respect to purpose. That is, the direct opposite of music for its own sake.

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Treblinka’s “Evilized” – Song Analysis

There was this short period of time, when death metal sounded really gloomy. This type of death metal was sometimes considered as black metal, which was judged back then not as much by used techniques, but rather by imagery, themes and atmosphere. When black metal proper was defined, for lack of a better name, the term dark metal, which over the years garnered various applications, was sometimes used to describe this style of death metal.

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Witch-Hunt – Darkened Anthology 1992-2002

Witch-Hunt hail from Virginia and were formed by brothers Brian and Ben Straight at a young age. The band would go through multiple periods and lineup changes that resulted in only one full length and a band trying to find its identity through various styles and constant lineup changes. On Darkened Anthology 1992-2002 the band showcase the best songs of each period in a “best of” style and such each section will be reviewed separately.

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Irillion – Fatanyu (Self-released, 2019)

Ostensibly positioning themselves somewhere between the exalted primitivism of Demoncy and the “flowing” school of Eastern European black metal, Irillion emerged as one of the more promising black metal-acts of recent years with 2016’s Egledhron. Not so much for their choice of style, but for displaying courage to move beyond established forms in intuitive pursuit of the most effective and far-reaching mode of expression. This recently released second EP entitled Fatanyu retains the sonic signature and raw, essentialist approach evident on the debut, but trumps the debut in terms of composition and stylistic refinement.

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Fester – Silence (Lethal, 1994)

Back in the day, this Norwegian band was derogatorily referred to as a “life metal”-band by scenesters. Especially their sophomore effort Silence suffered a reputation of being an exceptionally weak, pretentious and – above all – boring release. Although recent years have given rise to sporadic reevaluations of the band’s work, Fester remains largely neglected to this day (and some would say deservedly so).

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Sarcasm – Esoteric Tales of the Unserene (Chaos, 2019)

One of many promising acts who fell by the wayside in the early 1990, Swedish melodic death/black band Sarcasm made a somewhat unexpected return in 2015 with the long overdue release of their 1994 debut full-length Burial Dimensions. Then in 2017 came their return proper with Within in the Sphere of Ethereal Minds, an aesthetically pleasing marred by haphazard assembly. With Esoteric Tales of the Unserene (2019), Sarcasm return to previously explored territories; maybe in the hope of striking a better equilibrium between the style’s main constituents: black-, death- and heavy metal.

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OPHTHALAMIA – A Journey in Darkness (Avantgarde Music, 1994)

While primarily known for his work with black metal/noise-pioneers Abruptum and assorted non-musical activities in the – at least locally – infamous “True Satanist Horde”, it is the strange entity of Ophthalamia that remains as Tony “IT” Särkkä’s (RIP 1972-2017) greatest artistic achievement. Ophthalamia’s debut album A Journey in Darkness stood out in the early 1990s black metal-environment with its anachronistic and all-around peculiar mode of expression. In rough terms, the music can be described as a blend of black-, doom-, and heavy metal with the conceptual and structural trappings of 1970s progressive rock.

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Orcrypt – Dice and Damnation (Self-released demo, 2019)

In wait of their sophomore full-length album, premiere Pure Goblin Black Metal (PGBM) band Orcrypt released this demo recording some time ago. Dice and Damnation retains the sound and vibe displayed on the previous effort Mercenaries of Mordor; a fearless blend of cavernous black- and heavy metal that somehow dodges the obvious trappings of such a composite. But rather than settling into a comfortable template, the band choose to approach the material from a slightly different angle.

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Godkiller – The Warlord (Self-released, 1995)

When doing research for the recently published review of Godkiller’s The Rebirth of the Middle Ages I stumbled upon this earlier demo-proposal by the band. Released the year before the EP, The Warlord consists of a short introductory instrumental piece + two lengthier compositions spanning over ten minutes each. Of particular interest in this context is the second track, entitled “Path to the Unholy Frozen Empire”. Those who’ve previously acquainted themselves with The Rebirth of the Middle Ages will recognize the song by music, lyrics and title as the predecessor to the EP’s centerpiece number, although rawer in presentation. This observation is – by all means – anything but spectacular. More interesting is the fact that the demo features the song in elongated form.

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