Revisiting The Days When Black Metal Died

“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.

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Demoncy – Within the Sylvan Realms of Frost (1999, reissued 2017)


Review by Cullen Toner.

Nuclear War Now! Productions has re-released Demoncy‘s hypothermic Within the Sylvan Realms of Frost, continuing the independent metal label effort to repackage every outstanding death and black metal classic into commercialized fodder for every awkward hipster deadbeat lurking online. While clearly this reissue CD is a cash grab from Ixithra (You can still find the Faustian Dawn / Within the Sylvan Realms of Frost anthology CD for under ten bucks on Discogs) marketed towards recent nu-metal drop outs who never heard the original, revisiting of Demoncy’s most mysterious full length is certainly worth a listen as it benefits from a much improved sound quality. Since every re-release inadvertently strips the original album of its cult status and lore let’s make the most of our opportunity to embark on one more journey through the frigid tundra of Demoncy’s best kept secret.

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Demoncy – Within the Sylvan Realms of Frost Reissued

Demoncy‘s Within the Sylvan Realms of Frost has been quietly reissued by Nuclear War Now! Productions on CD as part of their series of Demoncy reissues. Within the Sylvan Reams of Frost is the most Norwegian sounding recording of Demoncy’s work and is a nice point in-between the classic Joined in Darkness and the controversial, almost Gothenburg, Empire of the Fallen Angel. Nuclear War Now’s remaster of Faustian Dawn last year sounded great so check this out if you’re a fan of Ixithra’s earlier material.

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Martire – Martire (1991)

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As the continent was before Britannic penal colonization, Australian black and death metal scene was and is still mostly an undeveloped desert of unexceptional crossover thrash posturing as “war metal”, blackened cheeseball beer metal, AC/DC clones with unclean vocals, and experimental technical deaf metal/post-hardcore/jazz fusion hybrids. Martire rode forth from obscurity to restore fruit and flower to the wasteland, fertilizing the barren bush wielding fire and sword.

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Sadistic Metal Reviews: 10-23-2016

melting-cdr

Humans and metal bands are self-replenishing resources. There are always more to burn!

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Sadistic Metal Reviews 10-20-2016

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Death Metal Underground receives a constant stream of inferior promotional materials like a child is given unwanted Apples, granola bars, and candy corn on Halloween. We toss them in the trash too.

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Demoncy – Faustian Dawn (1993, reissued 2016)

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Article by Lance Viggiano.

A minor boost- so as not to be outdone by diminishing financial returns – in fidelity reveals that the tonal direction which Demoncy would use to conjure the singularity known as Joined in Darkness had begun to break through the thin trebly aether early on. Faustian Dawn sees a young mage wielding uncharacteristic competence during its initiatory rites; though not without a share of exuberant amateurism. Drawing from the tomes of Von, Beherit and Profanatica – the track “As Tears of Blood Stain the Altar of Christ” makes an appearance here re-titled – Demoncy finds itself offering a unique vision which recalls primordial humans cloaked by tawdry rags locked away from evolution by a compulsory participation in invocatory rites amidst humid rather than the more characteristically frigid backgrounds.

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Conqueror – War Cult Supremacy (1999)

conqueror - war cult supremacy

Conqueror wanted to be a part of the “scene” but did not have musical ideas. The band discovered that the muddied sound of early Beherit and Blasphemy circa Fallen Angel of Doom could be used to obfuscate their dearth of ideas. Furthermore the hostility between the Norwegian scene and the rest of black metal could be amplified under false pretenses while not offering any truly satisfying alternative themselves. Basically, point to candy assed pop drivel like Dark Funeral but go to the other end of the spectrum entirely with a paper thin wall of television white noise with a drunken chipmunk howling nonsense. Conqueror’s “music” is structured which ironically stands contra to the concept of all out war. A little anarchy would at the very least allow the essence of battle to bubble up from the pot. Instead it’s a tame morass of very low effort grindcore riffs and mostly incomprehensible low E-string noodling. The best that can be said about Conqueror is that J. Reed has an identifiable sound.

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