“Nothing gold can stay,” reminds us the poet Robert Frost, and this applies to black metal. Its gold occurred between 1991 and 1994, when its progenitors innovated a new style and took it to great heights, but after Burzum – Hvis Lyset Tar Oss, it became clear that black metal was not content to be a normal, rock-style music genre.13 Comments
Immortal drummer Horgh has finished tracking the drums for the upcoming Immortal album with Demonaz back as the primary songwriter for the first time since Blizzard Beasts according to the Immortal Facebook page:4 Comments
Immortal are recording a new album next month. Demonaz will be the primary songwriting for the first time in almost twenty years. Will the KISS of All Shall Fall continue with Abbath kicked out of the band for refusing to kick drinking and drugs? Will Demonaz continue from March of the Norse or Blizzard Beasts? Let’s find out!4 Comments
While the sundered remnants of Immortal are trying to go their own ways (Abbath released a solo album, the rest of Immortal promises one later in 2016), Nuclear Blast Records is taking advantage of their rights to the Immortal back catalog by reissuing Pure Holocaust and At The Heart of Winter on vinyl. We’ve written about the strengths of Immortal’s early work in the past, and even the more streamlined and accessible At the Heart of Winter has its charms, so it should go without saying that the content of these reissues is valuable. Currently, the vinyl records are only available through Nuclear Blast’s German-language storefront, and not officially available until March 18th. German speakers might want to get in on this opportunity early.10 Comments
Article by Daniel Maarat
Addict in denial Abbath Doom Occulta has previewed a new track with Metal Hammer from his solo project, Abbath. Winter Bane “…comes with many of the qualities that are the essence of this band: epic, honest, powerful, and a heavy headbanger.” Surely many neck vertebrae will be dislocated by this radio pop for nasal decongestants attempt, but many more by decades-old Immortal material:6 Comments
Immortal’s ability to consistently release content since has fallen by the wayside since 2002 (although their quality was arguably ailing before that) between periods of legal disputes, side projects from band members, and that time in the 2000s when they were literally split up. Abbath has thrown his efforts into another side/solo project, and Season of Mist has seen fit to give us a sample from upcoming material – a semi-live studio track named “Fenrir Hunts”.
This track sounds more overtly like death/black metal than much of the Immortal members’ recent work, which were generally more oriented towards older forms of metal in songwriting even when their aesthetics were not. “Fenrir Hunts” strikes this reviewer as yet another highly polished, technically sound song with some nods to the need for varied structure in an otherwise fairly standard formula. In short, an acceptable effort, but not one that particularly excites me for this release, or one that compels me to listen to it over previously proven and enshrined classics like Pure Holocaust. I can hope that the full album will be more interesting when it comes out (and the early state of this song suggests room for improvement), but it seems most likely that this will be another soul-crushingly “okay” album.9 Comments
Playing a Speed Metal with black metal tinges ala Immortal on At the Heart of Winter, North Dakota’s Frosthelm offers the public a brand new video of their song “Silent and Dark, The Everlasting Sky”, from their new album The Endless Winter.No Comments
Luciferian Rites play black metal in a style that at first calls to mind middle-period Graveland. The hand-strum technique outlining chords is also in line with Immortal’s At the Heart of Winter and less obviously with Burzum’s technique. Immortal haunts this monument of an album in its most aggressive parts, but it is the commanding voice of Fudali that we hear echoing through the halls. Once the first impression has passed and the inventory of recognizable influences has been done, though, the individual beauty slowly comes out. It does not reveal itself, as this is very subtle music. It is the listener that must tune in, must hang on to the song, the album, and hear as every inseparable and utterly dependent — and necessary — part of its construction works together to create the transcendental black metal experience.
Drums play an incredibly important role here, lending an eloquence not even Immortal or Graveland, from whom Luciferian Rites borrow their musical language, show. The Achilles’ Heel of When the Light Dies is that songs start and end in strong statements that only serve as such because nothing comes before or after them, respectively. After a song starts, though, it is carried through a seamless transition of sections whose single riffs appear to be the most simple but that brought together create a magnificent super-riff. This could go on and serve as the song itself, but the band will often take a break in the middle, only long enough so that it counts as one. Unlike most other bands who use this structure, Luciferian Rites does not do this as a means to restart a song that has ran out of gas. Instead, in this brief moment the listener’s attention is brought back from the stupor of the first part of the song into conscious focus, only to renew the journey.
Some will say this album is seen in a positive light on this site because it adheres to old school precepts. Simple-minded people prefer simple explanations, it relieves them from the burden of having to think analytically. The truth is much more complex. Luciferian Rites excels in the subtle art of coherent, sensible, and purposeful composition, independently of the style. In their effort to find simple explanations and excuses not to have to face judgement and challenge their own views and the status quo, composition choice is equated to musical style. To some degree this is true, some styles have been built upon essentially flawed concepts (see Deathcore). But it is not true to the extent that we excuse bad composition by calling it stylistic difference, because “we are just different, but no one is superior”. This misplaced humanitarian impulse drives art to starvation and highlights gimmick and novelty acts as the masses of casual listeners turn their heads towards momentary satisfaction.
When the Light Dies is a strong candidate to the Mexican metal pantheon, standing in quality besides the best of legendary countrymen Avzhia and Cenotaph. Calling to mind the sensibility of Ancient’s Svartalvheim, Luciferian Rite’s sophomore release expertly builds on the classic works, sweeping aside accusations of retro-worship in a confident gesture of originality.