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.
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.
You wouldn’t pick crap up with your bare hands so why listen to these without ear plugs?
Humans and metal bands are self-replenishing resources. There are always more to burn!
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.
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.
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.
Riffless war metal/noise punk trolls Conqueror are having their only album, War Cult Supremacy, repressed on LP and CD by Nuclear War Now! A bonus live DVD is included too.
Nuclear War Now! Productions announced that their remastered version of Demoncy’s Faustian Dawn demo from 1993 will be out on CD August 15th with LP two months later on October 15th. The sound was remastered by Ixithra himself and a new cover created by Chris Moyen. Expect a review from our staff shortly too.
Article by Lance Viggiano.
Sacriphyx present a bog standard take on Hellenic black metal through the rollicking pulse native to Australia. The strength of the Greek strategy is in its ability to capture a variety of moods leading to a diverse heavy metal experience. The Western Front is a discontinuous concept album based upon World War I wherein its songs do not function as parts of whole; rather, they are self-contained units acting with autonomy in pursuit of the greater conceptual goal that is realized only through individual skirmishes. These compositional deployments reinforce stylistic choices by maximizing an array of emotive impact while minimizing any diminished efficacy of individual motifs as their power is not derived from their position in a greater narrative arc from song to song. Despite proficient execution, Sacriphyx fail to build upon the Mediterranean tactic in any meaningful sense and thus the movements of its elements will be predictable to those familiar.