Sorcier des Glaces‘ Ritual of the End, some of The Best Underground Metal of 2014, is coming out soon on compact cassette courtesy of Dread Records. French Canadian black metal maniacs who drive beat up old serial killer vans from the 80s like Buffalo Bill’s should pick it up. Everyone else should listen to Snowland MMXII and hate the human race.
Sorcier des Glaces announced on their Funbook page that their last two albums, Ritual of the End and North, are out now on vinyl LP from Obscure Abhorrence Productions. The albums were some of The Best Underground Metal of 2014 and 2016. They can be ordered from Obscure Abhorrence Productions on the label’s website.
2016 is over. The funderground mentality continued spreading forth, infesting metal over the last year just the same as it had in the decades past the genre’s artistic high-point in the early nineties. Rehashes of past greats pandering to a lowest common denominator audience continue to dominate the release schedules of metal labels all too willing to please the lemmings with music fit to safely ignore during drunken socializing. Ever-flowing streams of posers are desperate to be rock stars, pumping out plagiarism, and paying their way to record deals. File sharing and streaming reducing the cost of hearing new music to essentially nothing has led fans to constantly consume whatever is new regardless of quality. However the purging is at last at hand. The day of doom is here. The filth who have lied and corrupted the underground must be cleansed while the commendable elite few will remain.
Le puits des morts is a split album featuring Sorcier des Glaces and French black metal band Ende. On the first side, Sorcier des Glaces present four all new songs in their distinctive style of epic black metal continuing from their last few albums (including North from earlier in 2016) after the band’s abandoning of keyboards.
Sorcier des Glaces and Ende are releasing a split CD on Obscure Abhorrence Productions out September 22nd. The song “Le puit des morts” features several guests including Monarque, Nordet (Brume d’Automne), Blanc Feu (Chasse-Galerie, Cantique Lépreux), I.L(Ende) and Athros (Forteresse).
Artistically bankrupt metal bands typically rerecord their early material after milking the revenue streams dry through reissues, remasters, anniversary tours, and boxed sets. While the original recordings typically aren’t pristine productions, all charm is lost in the sample-replaced, quantized, digitally-reamped, and phase-butchered retreads shat out by an obsessive tinkerer’s digital audio workstation. All enthusiasm in the performances is butchered by years of alcohol abuse and aging journeyman musicians collecting just another paycheck, e.g. Sodom’s The Final Sign of Evil, Manowar’s Battle Hymns MMXI, and Bolt Thrower’s “World Eater ‘94”. Snowland MMXII is one of the few exceptions to this rule of rehash.
Death Metal Underground staffer Corey M reached out to the prolific French-Canadian black metal band Sorcier des Glaces for a written interview about their career. Our staff compiled a list of questions which Sébastien from Sorcier des Glaces thankfully and thoroughly answered:
Article by David Rosales.
We often use the term underground following the multiple discussions of underground extreme metal started on Death Metal Underground by Brett Stevens himself. Conceptualizing it here would be redundant and confusing. Instead, we might benefit more from brainstorming that allows for the reveling of authenticity that so characterizes underground music. What we are interested in here is not metal only, or metal as a whole, but rather metal as conducive to realization, breaking of false boundaries, destruction of a false mainstream, doing away with a useless society, and a contempt for a decadent civilization that through negation is blind to its own fatality.
The answer is not in this or that genre, in formal philosophy, or in the bare findings of the scientific establishment, but in their use in service of individual discernment. Music itself, if taken as more than mere sensual distraction, is the intuitive way leading to the shattering of illusions perceived through the senses, instigated by the mundane. This is not mere sophistry,; its most practical result is that in the abstract realizations thereof the mind is free to challenge what before appeared as commandments written in stone. Reality does not belong to anyone; truth is a quest.
Unaussprechlichen Kulten – Baphomet Pan Shub-Niggurath (2014)
The tumultuous death metal of Unaussprechlichen Kulten captures the rawness of exploring black magic in darkness upon the listeners mind. What is significant about the interest of metal at large in what is hidden, what is occult, is not the morbidity alone, although that is the explanation that even luminaries may conjure and the only one that the rabble may consciously understand. The open door to asocial darkness, to inhumanity, to disintegration, is the contrast between ephemeral and the immanent. However, facing this burning darkness is also a voluntary act: it lies beyond good and evil, where the primal breath of the whole that puts our non-divinity into perspective. Here, the old school death metal expressions within free structures that never overextend and are perhaps inconclusive, nevertheless represent a perfect introduction to an energetic flow of destruction and consumption.
Sorcier des Glaces – Snowland MMXII (2012)
A well-deserved update of Snowland, Sorcier des Glaces’ Snowland MMXII shines with self-attenuated glow, hiding vibrant vitality. This is the course of nobility after or through darkness. Sorcier des Glaces takes us to the essence of black metal as post-nihilism. What some would confuse with empiricism or mere scepticism, but is in reality free transcendentalism following death, complete nihilistic destruction. The dark light emanating from image and action, from reality and unreality, the delight beyond sensuality in the universe as it is as perceived imperfectly as we see it in the thousand ways in which we tune in to it.
Isa – Отход на закате [Departure at Sunset] (2015)
Risking death by lynching, I’ll introduce this rather inconspicuous and only vaguely metal album as the culmination of this discussion. This lies more in the realm of ambient and is liable to be confused with post-rock when seen from a certain angle. Departure at Sunset captures the naturalist side of metal in a stronger way than do most these days. This is done in perhaps an extreme way that does not befit the always-hidden, the underground spirit of metal. That is, there might be too much sunshine in this for the traditional underground, so that it might seem counter-intuitive for some to see this as more authentically revealing than what sounds traditional. But the trademark old school sound has been hijacked for a long time now, it has been commercialized in what is almost a counter-spell to its original black conjuration. The truth seems to emerge, then, in the opposite, sunlit, ice-clear sounds of this ambient metal that transports us to Siberia as the antithesis to the modern world.
Sorcier des Glaces are having a prolific year. Already having released a new album, the Wizard of the Ices has announced an upcoming split with Ende titled Le Puits des Morts and a remastered reissue of their second album, Moonrise in Total Darkness, on their Facebook page.
Sorcier Des Glaces & Ende “Le Puits des Morts” will be released in September via Obscure Abhorrence Productions! A “split” album filled with darkness, isolation and misanthropy… brand new songs from both bands, exclusive ones. There will be some guests on the title track, “Le Puits des Morts”, including Monarque, Nordet (Brume d’Automne), Blanc Feu (Chasse-Galerie, Cantique Lépreux) & I. Luciferia (Ende). A first song will be available by the end of April. Here’s the track-listing of this unholy alliance:
SORCIER DES GLACES – Le Puits des Morts
SORCIER DES GLACES – Glaciale Solitude… Dans la Pénombre Hivernale
SORCIER DES GLACES – Dans l’Immensité Blanche de la Plaine
SORCIER DES GLACES – L’Ombre Squelettique du Temps
ENDE – Notre Falaise
ENDE – Sacrifice
ENDE – Call from the Grave (Bathory cover)
ENDE – Fehér Isten
Article by Corey M
An astounding eighteen years after releasing their debut full-length, Sorcier des Glaces releases North, maintaining their streak of high-quality albums. The themes of their last album, Ritual of the End (one of 2014’s best releases), are still present here and revolve around the band’s signature lyrical and melodic concepts; descriptions of people and places undergoing freezing damnation, in their unique vision of death occurring over epic spans of time.
This music holds the rare power to instill visions and sensations of ice-covered ruins and crippling cold by its melodic prowess alone. However, the vocals and lyrics are praiseworthy as well as the delivery is unnervingly clear, poetically orating scenes of melancholic morbidity illustrated by the music. This is achieved by Sorcier des Glaces’ idiosyncratic approach to writing long riffs with slow and steady chord changes all augmented by faster-moving melodies that anticipate and resolve the myriad melodically unorthodox transitions. It’s so rare to hear this style of complex harmonic activity performed this adroitly that the only similar album I can think of that achieves this level of complexity tempered by an intuitive sense of coherency is Far Away from the Sun. That is a high compliment.
In terms of technical performance, the musicians’ set-up is very similar to what is heard on Ritual of the End. Driving drums impel the helical, tremolo-picked, complimentary melodies which the lone guitarist/bassist cleanly divides into trios. The main melodies are carried by the rhythm guitar’s very long chains of power chords and the bass guitar modifies the basic root notes of the rhythm guitar, adding much harmonic depth to the songs. Meanwhile, one or more guitars play high-register leading melodies that expertly illuminate the emotive potential of the progressions. Playing their instruments at such a wide range of timbre and speed creates a broad, orchestral sound. The band’s creative flexibility allows the orchestra to tower indomitably, or branch out and flow smoothly, winding naturally around musical obstacles, like the trickle of water over irregular, rocky terrain.
The musicians even get a little bit more boldly experimental on North, particularly during the title track “North”, utilizing some long sections of cleanly picked chords that mutate and creep toward obscure resolutions while the bass dances its own giddy cadenza beneath the reverberating guitars. Typically this sort of deviation would wreck the feel of a song in the hands of inadept musicians, but here it is a delight. “Dawn of the Apocalypse” features an epic lyrical narrative enhanced by some more extreme shifts in dynamic intensity of the music. None of the changes are jarring or illogical; rather, they occur organically.
Despite the long and winding song progressions, I would recommend this album even to uninitiated metal fans. The sweeping guitar orchestration will ensnare anyone with a keen sense of musical passion, allowing Sorcier des Glaces’ malevolent shroud to obscure their sense of righteousness as they succumb to the awesome power of ice and occultic magic. North is an excellent album that will provide many journeys into the frigid recesses of the unconscious, at once harrowing and wondrous.