We had a brief teaser for North almost a year ago. In the mean time, Sorcier des Glaces has released one of its upcoming tracks, as well as a longer trailer for the album, and they’ve also set a release date – February 29th. I’d take this release date with a grain of salt, since Sorcier des Glaces has been known to delay them a great deal for whatever reason. Case in point – this album’s predecessor (Ritual of the End) was originally planned for 2012 but didn’t release until 2014. Still, whether or not it gets released on time, it should be a worthy acquisition; the band’s style remains intact, and that means strength of melodic development and extended songwriting for everyone.
Another album that I briefly wrote about a while back is approaching its official release date. Rituals by Rotting Christ will release on February 12th, 2016, and is still available to preorder from Season of Mist in the meantime. You know how a great deal of established and older bands stick to their stylistic guns, especially now that the crisis of the 1990s is but a dim memory? Rotting Christ is amongst them; they’ve continued their traditional-black-etc fusion ways as hinted at on their earliest albums and established, at the very latest, on Triarchy of the Lost Lovers. If this album fails to be of any value, you’ll at least have Thy Mighty Contract as a fallback.
Winter Thrice would’ve ensnared me for some time, had it come out in 2009. In my youth, I was more receptive to pomp and circumstance in my music, and if there’s one thing Borknagar’s latest recording does especially wrong, it’s that it never relents from its apparent desire to be epic, even to the point of having its share of contrived quiet sections for obvious dynamic contrast. Restraint is not part of these musician’s repertoire, and it makes for yet another flat (albeit psychically draining) album that I can’t imagine even its most rabid fans having much patience for once the initial blitz of sales wears off.
At its core, Borknagar is descended from the same sort of ‘atmospheric’ black metal that their fellow scenesters and countrymen in Arcturus once made a living doling out to the masses. It’s probably a coincidence (at best, historical understandable in the context of Norway in the early ’90s) that both of those bands have some roots in especially unusual death metal oriented recordings. What degraded these bands (and similar ones) over time was their ever increasing addiction to sonic novelty. While Borknagar was quicker to unify a few elements they liked and streamline everything else into their signature sound (I described the teaser as “melodramatic, pseudo-progressive heavy rock music”), they’ve ended up so dependent on their own aesthetic that it interferes with their ability to develop their songs.
Now, Borknagar is technically proficient, as you might expect from any metal band that sells and isn’t deliberately ultra-primitive. However, only the vocalists’ contributions manage to rise to any sort of prominence. If I strain my ears, I can catch a glimpse of what the instrumentalists are attempting, and I’m sure it’s pleasant enough as a result of all the time that went into writing and recording it, but there’s very little of substance there beyond the ‘epic’ orientation of Borknagar’s songwriting. On top of that are a series of sung parts from three vocalists all scrambling for your attention. These are again skilled singers (and shriekers) to the point that their performance takes center stage, but when the arrangements they perform are so forgettable, does it really matter?
Ultimately, I found Winter Thrice to be so aggressively unmemorable, to the point that remembering just what it sounds like beyond a vague impression of 3/4 time and minor key progressions is difficult. At its best, it sounds good, but this stylish album is ultimately free of substance.
Article by David Rosales
Folteraar’s 2016 release comes to us with a proposal that is very much in vogue in the current metal underground. To any wary of the pitfalls of following trends, this might ring alarm bells almost automatically. But we must not be hasty in this judgement, since even though the establishment and spread of a method may really be, in fact, taken up by a large number of hands who are not up to the task and will undoubtedly produce subpar results, this does not mean that we won’t also find those out there who have focus and vision to make use of pre-defined rules with a sober mind. A clear example of this is Condemner’s Omens of Perdition.
As much as we all yearn for another quality release, however, Folteraar exemplify the rule and not the exception to the avalanche of high-spirited but poorly thought out metal albums that make up the bulk of releases nowadays. Since there is nothing in particular to point out about Folteraar, as it has no particular value or fault but just repeats every cliche of the underground war-metal-noise-garbage intersection, we won’t spend too much time pointing out flaws that have been pointed out once and again in the past in this site. The duty still falls on us to point out the very particular approach Vertellingen van een Donkere Eeuw brings to the table as a representative of the most blurry instantiations of this line of thinking.
This brings to mind several influences that served to furnish the raw materials for the formation of early ’90s underground metal. These are primarily heavy metal of the so-called ‘doom’ stripe and hardcore punk. It is easy to appreciate a deconstruction of these in this music which seems to be violent for violence’s sake. Worse than that, it seems to ape so much at the tropes it has learned from the past that the music does not seem to build anything else. Folteraar’s music is just a sequence of cliches that build up to no content. Themes do not build up, in either melody, harmony or rhythm. This is just a sequence of loud screams; a hysteric madman in a padded room would make more sense.
Do yourself and the “community” a service and do not put this aside but actively campaign for a distinction between its utter nonsense and the codified communication that is achieved by its betters. The author encourages (and will keep doing so while releases such as this keep coming) the reader to return time and again to Condemner and allow it to rise in his consciousness, as its structures become more familiar and its development thereby becomes evident. Throw most, if not all, war metal such as Vertellingen van een Donkere Eeuw in the trash bin.
Abbath’s pitfalls on Abbath are garden variety pitfalls (haphazard songwriting, too much time on the mixing consoles). What really distinguishes this album from all the other comebacks (like our recent coverage of Dystopia) is its main author’s legacy. Abbath’s previous accomplishments with Immortal factor very heavily into any promotion of his solo efforts, and this album has already received a great deal of praise because it doesn’t rock the boat by not sounding like Immortal and its more openly rock-like spinoffs (Between Two Worlds, March of the Norse). Divorced from the fame, Abbath might draw a little positive attention for having slightly above average individual riffs and instrument interaction, but that doesn’t stop it from paling in comparison to what Immortal themselves achieved.
A lot of what I could say about this album has already been used to describe previous efforts from when Immortal itself lost the impetus that made it so interesting in its early years. Running a simple search and replace on Brett’s descriptions of Damned in Black to replace band names makes for a very accurate, albeit not particularly original summation of how Abbath falls short. Surprisingly, it also describes some of the strong points; this album is arguably a lot more appealing on a superficial level than Immortal’s earlier studio albums. While skillful organization of musical content makes careful listening to a track like “The Call of the Wintermoon” off the debut pay off in the long run, I will admit that earlier material sometimes falls short in individual riffs and solos, mainly because the band members were less technically skilled in the past. That attention to detail, though, rendered the old works more ambitious. In contrast, a couple of tracks here come off as especially contrived; for instance, “Ocean of Wounds”, which sounds like Abbath and company decided that they absolutely needed to have a mid-paced arena headbanger. Many of the tracks aren’t as obviously pop oriented, but they’re still pretty haphazard and unmemorable once you start memorizing the individual elements.
It should come as no surprise that I don’t exactly recommend Abbath. The main difference between this and most of the chaff is that I think the musicians involved could do better if they set their minds to it based on the fact that they have, although the subtleties of the past sometimes just don’t pay the bills. At the very least, a financially successful but vapid comeback is a different problem than continued effort from bands that never put out anything of value.
Article by David Rosales
It is hard to ascertain if it’s pretentiousness or merely a poor appreciation of classic minimalist metal that brings about all these very underdeveloped (or simply shitty) releases. It seems that most of these would-be musicians think that all it takes to put out a folk-melodic black metal album is to write a simple consonant melody in standard time signature, play it in with tremolo picking, use variations of blast beats and mid-paced double-bass drums and a combination of bark-scream-screeches and the now-fashionable “war calls”.
The result of this sort of thinking is, again, surface oriented and only manages to turn what was originally a unique expression that bubbled up from a deep feeling into a list of characteristics to be filled in order to sound appealing to a particular demographic of undiscerning music fans. Rather than beat up another mediocre artist of absolutely no relevance, we must also turn our muskets in the direction of the masses of uncaring metal fans who take no heed of who they “vote up” or what they buy as long as it is mildly pleasing.
It is you, the average fan, that decides what sort of projects receive support and that subpar music is put aside. The old excuse of supporting up-coming acts that may in time improve and write outstanding music is a poor one. Let them struggle, let them first earn their merit. Metal is no aristocratic art that needs spoiled kids to have their ego stroked so that they somehow become musical geniuses. No legendary metal album is the result of undeserved favors, they are all, almost invariably, the result of struggle, of blood and tears.
For the sake of metal itself, if not for the sake of your own mental health and nutrition, throw away and put aside all projects that stand on the same quality level as Naðra Allir Vegir Til Glötunar. This has absolutely nothing to do with production. This has absolutely nothing to do with monetary support for touring. This is about not only creativity but the perseverance, ability and knowledge or intuition to arrange convincing structures that amount to Dionysian calls from the inner man. Allir Vegir Til Glötunar is only dead weight for the metal genre.
Article by David Rosales
Musical genres work very much like languages, transmitting information at an abstract level, albeit simultaneously at a much more intuitive and unconscious level, hence its surfacing in the form of emotions. Unfortunately, many musicians fall into the trap of taking forms and cliches merely as that: a formula that is interpreted either as a constraint or a shortcut. Neither approach correctly assesses the real value of so-called cliched forms and expressions.
Vargstuhr’s Howlings presents a pop opera variation of this thinking by making a wolf-pack themed album whose center are the lyrics. All music revolving around it is incidental and it tends to twist around in its particular emphasis while roughly remaining in the area of a third-grade black metal act with very poorly thought-out interactions between the vocals and the music. Like any opera-like production, it tries to keep its eye on themes of some kind, but the music is still too secondary and plays more like an excuse for a soundtrack.
Besides its poor structuring, Howlings also fails at a local performance level, managing to sound awkward in almost each of the instruments at least at some point. We normally do not complain at all about production, but here the music is so bad that the excessively out of balance mix emphasizes the flaws of the album. The only prize Vargstuhr will be winning here is an award for one of the most uncomfortable albums to listen to in recent memory.
Article by Corey M
Serbian black metal group Zloslut received some well-deserved coverage on DMU in 2013 when they released their first album, Zloslutni Horizont – Donosilac Prokletstva, Očaja I Smrti, in which the musicians demonstrated a humble and patient method of constructing epic songs based around the simplicity of a few chord changes. This method contrasts (pleasantly) with the typical songwriting method of modern black metal bands, which is to hurl rapid-fire oppositional riff pairs at the listener with the intention of disorienting and distracting from the lack of any coherent musical thread. Zloslut’s music promises a refreshing return to the minimalist style that the best black metal bands of the early 1990s used to produce memorable and effective songs.
U Transu Sa Nepoznatim Siluetama moves at a familiar pace for the experienced listener, but the albums dynamics are generally so well-balanced that even someone not engaged in black metal would not be offended or confused by the aural layout. The average intensity of the music is nearer to that of In the Glare of Burning Churches than Pure Holocaust, which means that each song has plenty of room to breathe and the listener never feels battered or overwhelmed by density or speed. Songs themselves are built out of a handful of chord cycles that are aesthetically consistent and highly motivational; never does a chord cycle become so stale that you will actually desire its end to relieve boredom, but never is a riff so complex that it blows by and is forgotten for not having been catchy or repeated enough. Each segment of music is paced accordingly and results in each song becoming a miniature journey of sorts, leading the listener along a path through moments of surprise, anger, despair, hatred, and finally toward some appropriate resolution that can’t be described in text, only experienced sonically.
Zloslut’s success stems from the songwriter’s intuitive sense of balance and momentum. When a song picks up speed, the tension increases but is balanced out with slower-moving riffs played with more major intervals. After a song has expended its motivational energy, the guitars drop down and drag the melody through murky valleys of foreboding and loss. I want to be clear that the dynamic balance maintained throughout this album does not mean that the experience is emotionally flat; rather, that every peak is paired with a valley, and every action has an equal and opposite (or, is it complimentary?) reaction. The spacious feel of the album allows for stretches of melancholic introspection like one might find themselves amidst while listening to Vampires of Black Imperial Blood or the more recent When the Light Dies. But don’t make the mistake of associating Zloslut with the emo-leaning depressive style that has crept into the black metal canon over the last decade. U Transu Sa Nepoznatim Siluetama is ferocious and concedes nothing, sparks the listener’s imagination, and encourages one to seek out and confront the obscure biases and phobias that lurk in the far-flung corners of the psyche.
We covered Cirith Gorgor’s latest album a while back; this Dutch black metal band is ahead of many of its compatriots in terms of writing coherent black metal even if they face very stiff competition from local luminaries as Sammath and Kaeck. They’ve since released a music video for a track off Visions of Exalted Lucifier with the help of their record label (Hammerheart Records). It’s got plenty of violent and possibly disturbing imagery, and it generally seems appropriate for the music, but I’m not enough of a filmic expert to say why or how in any specific fashion. The full album will release to the public on February 12th, 2016.
Part of the Agonia Records stable is out on the road again. DMU contributors have discussed both Aosoth and Mgla in the past and at least in some cases have been able to find value in them (although I’ve found Mgla hasn’t aged too well and that their formula is need of greater nuance). Continental Europeans will get a chance to judge these bands for themselves during this upcoming tour. So far limited to 10 dates and leaning towards the northern part of the continent, this seems to be a standard “support previously released material” type of tour. Aosoth is also performing at the Netherlands Deathfest (a subsidary of Maryland Deathfest) on February 28th.