Sanctuaire hearken back to an imagined Canadian Viking past in the hope of explaining their national hockey skills. Le Sang sur l’Acier presents three black metal songs written in a style similar to their compatriots Sorcier des Glaces but genericized for mass appeal.
Sanctuaire released Le Sang sur l’Acier today on CD and for digital download.
Monarque Helserkr has released a new track, “Graver sur les pierres, les souvenirs d’hier”, from his Sanctuaire viking-themed black metal project’s upcoming EP Le Sang sur l’Acier.
Burzum, the sometimes black metal and sometimes ambient project of Norwegian-descended French national Varg Vikernes, announced the release of new album The Ways of Yore on Byelobog Productions/Plastic Head for June 2, 2014. No further information is given about whether the album will continue with the post-modern black metal style of Umskiptar or the folkish dark ambient style of Sôl austan, Mâni vestan, which was one of our “Best of 2013”.
Emerging from the same locus of intensity in Norway that produced Immortal, Mayhem, Emperor and Ildjarn, Burzum began in the early 1990s as a complex riff-narrative style of black metal with unnerving vocals that combines a feral animality with emotional sensitivity. Early works attempted to integrate elements of ambient music and create a sense of ritual designed to “stimulate the fantasy of mortals.” This era ended with Filosofem and composer Varg Vikernes being jailed for the murder of Euronymous of Mayhem.
During the incarceration years, Burzum shifted direction to full ambient with Dauði Baldrs and Hliðskjálf. These albums allowed Vikernes to escape the monolithic sound of guitar/bass/drums and work with multiple instruments, culminating in the lush creative density of Hliðskjálf (which was revisited somewhat in Sôl austan, Mâni vestan).
After prison, Burzum entered a period of post-modern black metal influenced by droning indie-pop variants of NSBM such as Drudkh and other Eastern European bands. This music reflected pop song structures, a shoegaze-style approach to melody but with the longer phrasing — albeit recursive — of black metal like early Ancient, and extensive use of North mythology. It is unclear whether this period continues now with folkish dark ambient album Sôl austan, Mâni vestan in 2013 being a temporary detour, or whether Vikernes will launch Burzum into a fourth period with the more complex instrumentation and hence compositional density of that album and Hliðskjálf.
In what was what I would call a ‘mixed bag’ of a gig, Entombed were the disappointment, and Amon Amarth the pleasant surprise. The Academy was a packed venue, nearly full and with a decent enough set-up, good acoustics and an intimate setting, the stage not being isolated from the proximity of the audience.
Entombed played a set that disappointed, and this was partially due a lack of their better material being played. Much of the setlist consisted of numbers that were lifted from their third full-length, Wolverine Blues and then onwards, with a lack of attention given to their more pioneering work that was put out on their first two albums, Left Hand Path and Clandestine. Songs were less death metal than they were an aggressive take on stoner rock, songs being much more inclined to the verse/chorus school of rock songwriting, the rhythms more inclined to provoke the shaking of hips and the tapping of feet than they were to bang heads. Whilst this was all good and competent, certainly the great soundtrack of an alcohol fueled evening in the capital of Eire, none of these works, as far as the reviewers opinion is concerned had the violent charge nor the momentum that characterized their legendary debut. Some credit will be given to the vocalist, whose onstage presence and frantic onstage manners gave more depth and urgency to songs that otherwise were devoid of it, and the guitarists tone was brilliant, the same buzzing, ‘chainsaw’ like tone that they helped pioneer back in the early nineties through maximum amplification. Entombed concluded their set with a brilliant rendition of Left Hand Path the staple and title track of their debut album, and it put a redeeming conclusion to what was an expertly performed, yet borderline mediocre set on occasions. It would be wonderful to hear what paths could be treaded if they realise the urgency that made their earlier music essential.
Amon Amarth played an excellent and intense set, mostly consisting of the melodic, fluid and anthemic traditional metal that they have come to be easily associated with. Infectious melodies and precise, double-bass lead drum rhythms bring to mind a hybrid of Blind Guardian and late period Immortal, whilst the muscle and simplicity of their music brings to mind fellow countrymen Unleashed in both the subject matter and the simplicity of the song structures. Musically Amon Amarth have an obvious strong commercial potential, sound highly accessible by the subgenre’s standards, and whilst they are not exactly breaking any new artistic ground, they are still workmanlike and this shows in what was a very well received and well performed set. Johan Hegg is a good front man and throughout the set uses the opportunity to incite the audience to terrace chant amidst his bellowing, whilst taking turns to consume from the mead horn that is his custom to bring on stage with him. Admittedly I would not consider these to be an act of the highest caliber, though they are unique in that they have one foot stood in the primitive and barbaric, with one firmly in the ability to reach out to a large audience. It was a privilege to be involved among the audience that night.