Serpent ov Old – Withering Hope (2012)

S E R P E N T  O V  O L D

Withering Hope

2012 Era Horrificus

It is the way of things that genres arise from culture and philosophy, as well as from personal interpretions of that culture and philosophy. In the case of metal, we see its subgenres and styles mingling in different ways to different degrees of acceptance and satisfaction by audience, artists and critics. In the case of Serpent ov Old, this has taken the form of an amalgamation of black metal and power metal, which has surprisingly and graciously bypassed the technicisms of death metal. And while there is word of power metal taking up death metal techniques into its repertoire, the mainstay of power metal has never executed this transition. The truth of the matter is that the melodicity and emphasis on comprehensible chord progressions of power metal has more to gain from the elegant emphasis on melodies-made-flows that the best of black metal has mastered inwardly. At the same time, Serpent ov Old makes music that stands primarily as evocative music elevated above discussions on techniques or style, even if the techniques and ways of expression have been clearly adopted from the sources mentioned above.

Serpent ov Old builds music by stating themes in the fashion of power metal, while balancing —purging— the saccharine effects by the application of black metal underpinnings in percussion, vocalization and guitar strumming. What we can hear is a music dominated by harmonic movement across which significantly active melodic lines move. Tension is built and released and then recaptured by both the melodic-harmonic interplay of lessons learned from black metal here, and those adopted from power metal there. Furthermore, the textural effects of the percussion and how these affect impulse, constriction and relaxation are taken primarily from black metal. The band makes this work by connecting power metal and black metal techniques to their common speed metal foundations, meaning that in many of the cases, the approach of the central riffing and percussion could fall into a nebulous area which both genres share in mature forms of speed metal, although this ambivalence is usually resolved towards black metal. As a whole, power metal is used as a bombastic paintbrush that allows Serpent ov Old to magnify the usually understated dramatism of black metal.

All this has to be accomplished tastefully, and we never find a reliance on trope or techniques: compositions are driven by the central, “invisible” essence of motion and contrast, and fluctuations of power and direction, by and for which the instrumentation exists. The “shredding” abilities of the guitarists in this work are used much in the same way that Trey Azagthoth’s atonal noise solos ripped through old Morbid Angel songs: as hyeroglyphs rather than as pretentious elaborations. These are to be taken as impressionist impressions, and should not be confused as baroque virtuosic displays, for such scale-based quasi noise shreds lack the self-sufficiency of the proper baroque solo instrument that we would hear in a work for viola da gamba by Marin Marais, for instance. And as one listens to the music more and more closely, subsequent spins allow the listener to perceive these relations properly, allowing them to see where the backbone is located, and how the peaks and valleys are formed by the creators of this landscape of poetic rashness.

The music of Serpent ov Old is fierce romantic dramatism akin to powerful forces of nature that destroy yet also create. By adopting and moderating the extroverted expression of power metal and delicately subsuming it under black metal, Serpent ov Old makes the music genres escape the narcissistic trap and makes them serve a transcendent expression of inner experience. Furthermore, this profound experience, if authentic, is one of darkness and anguish; but which darkness and anguish, if contronted and assimilated unto individuation, can presumably lead to the creation of a new type of being. However, the music is still limited by this personal flavor, which still tends to be merely inward looking, but not yet deep enough that a new space is opened up through the self as a gate. We may say that this is ultimately a question of personal experience, reflection and individual meaning. But ultimately, as music, it must be able to develop the ability to somehow come up with an aural language that can communicate a general intimation of what is presenced from beyond.

Note: We might yet see Withering Hope released under the banner of Deathwave Nexion.

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Vargavinter – Frostfödd (1996)

A single-release project from Sweden, Vargavinter play a style of black metal that could accurately be described as melodic and ‘ripping’, ‘pagan’ and ‘symphonic’ without falling into any of those narrow misnomers. By holding its influences together into a pointed lance-tip, the music is able to maintain a dignified character as it preserves a certain aggression. The driving, aggressive impetus is able to stand even major chord progressions without disassembling its unitary momentum into constituent mediocrity.  When such disintegration takes place, subpar passages arise, and the music is no longer black metal, but ‘pagan’ or ‘progressive’, for instance. This process entails a frequent alternation of outstanding and mediocre moments in Frostfödd which make of it a tragedy.
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Death metal influence on power metal

After the initial explosion of Death metal, metal had finally made the breach into untapped territory. Gone were the tropes of previous influences and the race to reach new summits of musical expression had begun. On the sidelines the speed metal bands saw themselves pushed into irrelevance; hardcore had now evolved into Grindcore and heavy metal heroes had now degenerated into more commercial sounds in order to expand their fanbase in a world that had left them behind. The European power metal bands found escape in Tolkienesque fantasy and escapism. In America, the USPM movement was not interested in the more flowery interpretation of European power metal. Some of these artists recognized the power of the early Death metal moved by Slayer and sought to integrate it into their own music for greater effect. Here we shall omit the failures of bands that attempted such experiments like Satan’s Host or Iron Cross.
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Septic Flesh – Temple of the Lost Race (1991)

It is not without good reason that the early 1990s are heralded as the golden era of metal music around these parts. In less than 5 years, not only did death metal reach its hitherto most mature stage, but in its immediate wake came the pinnacles of the by-then emerging black metal movement which remains unsurpassed to this day. (more…)

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Afflicted

Afflicted were a Swedish metal band from the late 80’s to the mid 90’s releasing only two albums and a handful of demos. They began as Afflicted Convulsion playing primitive yet erratic death metal/grindcore. Although the riffs on their earliest (listenable) demo, Beyond Redemption, do little to set themselves apart from their contemporaries, we are presented with nuanced compositions that keep the listener enticed through each track, presenting satisfying wholes rather than myopic moments of inspiration. As Afflicted, the band would take their compositional skills and apply them to unique riffs on their demos and first album, Prodigal Sun. (more…)

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Defender – They Came Over the High Pass (1999)

As the successive death- and black metal craze of the 1990s lost its grip over Scandinavia, many musicians started a journey back towards their earliest of musical infatuations. Often this meant a return to classic 1980s heavy metal, although filtered through contemporary developments in the metal craft and coupled, at least in the more auspicious of cases, with a melodic flair distinctive of the region. One of few interesting products of this slightly schizoid period is the one-man and seemingly one-off project Defender, brain-child of a certain Phillip von Segebaden. (more…)

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Dimmu Borgir – Eonian 2018

Dimmu Borgir are through and through, the most popular and most successful Norwegian metal band.  They are also #2 in bands that were at one point in their career black metal (falling just behind Cradle of Filth).  Since 1993, Shagrath and Silonez have clawed and breathed fire and went through dozens of musicians- some very well known- and marketed themselves as the “evil fantasy/RPG villian” better than any other band.  The brand, however obscure and seemingly non-conformist, resonated with millions as it’s two core musicians have turned their Hollywood Satanism gimmick into a big moneymaker for Nuclear Blast Records.
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Introduction to Power Metal, Part II: The First Wave of European Power Metal

[The epic continues!  Read part I of Johan’s journey here and listen for yourself via this playlist]

While working with what was intended to be the second part of a tripartite article series covering the history and general properties of the power metal subgenre, it soon became clear that a sufficiently thorough treatment of the subject would require more space and time than what was originally intended. This insight subsequently led to the conclusion that individual parts needed to be subdivided and portioned out in order to not grow out of proportion. The initial plan to present the material into three consecutive parts has thus been revised.
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