Zloslut – U Transu Sa Nepoznatim Siluetama (2016) Re-Review

zloslut 2015

Article by Lance Viggiano.

U Transu Sa Nepoznatim Siluetama presents a longing, melancholic, and nostalgic view on black metal ripped straight out of the playbook that enabled artists such as Alcest to score big with the empathetic loner crowd. On the surface, this music is presented as your standard affair of devil music yet it is bereft of even one note of existential weight or tantalizing, decadent forbiddance which typically characterizes Faustian gambits with the dark. The music swings, bounces, pops, and dances in the light. It is so light in fact, that gravity actually helps uplift these sounds.

Then there is the overwhelming familiarity which strikes the listener immediately. These are well-considered compositions that look backward for source material but otherwise fail to provide new meaning. The past is alive but it is practicable and pedantic. Zloslut shamelessly flaunts catchy and immediately gratifying candy culled from across the metal spectrum. A delicate and emotive arpeggiated tremolo-picked melody ripped right out of Norsecore will be seated right next to a Rotting Christ-style heavy metal motif. Burzum and Gorgoroth have their post cards along route 666 through the use of ringing bar chord breaks.

This is one of the rare albums where sloppiness, uncertainty, and disorganization could have been a boon as it would have colored the music with a wild charm and sense of adventure. The riffs are supposed to add up to a meaningful experience but the stark reality is that this is a Now That’s What I Call Black Metal! recollection of genre hits. Quite possibly the most radical statement this album could have made would have been allowing the genre-verboten blues to blossom into a David Gilmour solo on the first proper track.

Listen to and download U Transu Sa Nepoznatim Siluetama for free from Zloslut’s Bandcamp page.

Zloslut – U Transu Sa Nepoznatim Siluetama (2015)

zloslut 2015

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.

November Reviews: Neutron Hammer, The Stone, Worship, Gehenna

Neutron Hammer – Extermination Kommand

A short and sweet five song EP by Neutron Hammer sees these young Finns tackle a simple, tried yet tested formula, typical of what we expect from retrograde black/death/thrash hybrids, seemingly with the only intention to rehash and rekindle lost memories of something many once saw as ‘true’. With a sharp and clear production that conveys great energy within the constraints of mostly verse/chorus song structures, Neutron Hammer often have a similar charge to their music not unlike Australian nostalgics Vomitor and Spear Of Longinus, though compacted to an catchy, anthemic mode that fits the early, primitive works of Impaled Nazerene and Beherit. Excellent work, and also worth watching if you can catch a live performance.


The Stone – Magla

Serbian black metallers The Stone create an epic work that resembles Texan act Averse Sefira, as both bands combine death metal riffing with Norwegian styled harmonies. The differences here are that the melodies are more obvious to untrained ears and we get much more variation in tempos. Amidst this framework there is a crepitating NWOBHM influence in the guitar work, laid beneath a sheen of violent, modern black metal phrasings. One of the best releases to come out of Eastern Europe since the turn of the recent millennium.


Worship – Last CD Before Doomsday

Reissued on CD format five years after being issued on cassette in 1999, Worship play in a funeral doom style that takes on the amelodic, sluggish, death-doom riffing of Thergothon and the suicidal themes and eclectic ambiences of fellow Germans Bethlehem. This lacks the sense of continuity that makes bands like Skepticism great, often losing its momentum in its search of unfathomable dirges of gloom, though this is no means to suggest it is a bad work, it still has its moments of quality.

 


Gehenna – First Spell

A minor classic of Norwegian black metal, Gehenna’s debut full length contains five songs that combine simple, punky chords and tremolo picked guitar harmonies amidst a backdrop of haunting, etheareal keyboards. Unlike most bands who have unsuccessfully tried to execute this ‘gothic’ variant of black metal, Gehenna clearly understand quality control, and whilst they allowed this aesthetic to play a key role in what you hear on the surface, it is kept in moderation and doesnt outweigh the artistic beauty on offer. If you are looking for something that triumphs where acts such as Cradle Of Filth handicapped their own potential, one should find it all here. Simple, imaginative, majestic and consistent, this is a highly recommended release.

Written by Pearson