Barathrum
Eerie
[Nazgul’s Eyrie]
Indeed, this is rather an old release, but I have been listening to this a fair deal of late, and deem it fit for me to shower some rather late accolades upon it. Nazgul’s Eyrie always seemed to be more intent on signing sophisticated bands who exuded true evil rather than resign to pointless brutality, and Barathrum is an archetypal example of this, and along with Countess, perhaps the very epitome of Nazgul’s Eyrie’s already formidable stable.
Where Hailstorm was rather unspectacular, something that can be attributed mostly to the poor, noisy mix, this surpasses the former in every department imaginable, a smorgasbord of macabre, chilling and blackened doom metal genius, or “Jet Black Metal”, as they so aptly describe it.
The Barathrum sound revolves around incredibly bass heavy compositions, something that naturally arises from their use of two bass guitars as a band would employ a rhythm and lead guitar. Much like Necromantia, this bottom heavy sound aids in the creation of a truly tortuous, and primordial, sinister atmosphere. As can be expected, songs don’t venture beyond a slow to medium pace. Compositions are ritualistic, primitive and share more traits with earlier Saint Vitus, Count Raven and Trouble than any contemporary black metal outfits, a quality that is deeply appreciated by this doom metal maven. Drums are only used to maintain the ritualistic, monotonous and primordial tempo of the proceedings, and the bestial, distorted vocals sound truly unique. Guitars don’t seem to be employed for any purpose than to provide an ambient, fuzzy background to the more prominent basswork, a combination which ends up providing some truly memorable riffs, which culminate in the unbelievable “Nocturnal Dance”, a consummate exercise in doom-ridden, monumental Saint Vitus- afflicted black doom orgy. Definitely the strongest cut on the album, this alone is worth any amount of your sweaty money.
The production is a tad lightweight, which has to be my only complaint of the record. For some outfits ie Forgotten Woods, Joyless etc., this subdued, rock-esque production is rather effective, but it robs from this recording, particularly because I think that the bass can be further emphasised and pushed forward. Barathrum have still failed to capture that in their music, with their latest endeavours on Spinefarm being sorely lacking in the bottom-heavy savagery that won them such acclaim earlier. However, as a work judged on musical merit, atmosphere and feeling alone, this Barathrum record outdoes most anything out there, and is only barely surpassed by their paramount opus, “Infernal”. Not a duff track in sight, and without a doubt a landmark in Satanic, infernal evil metal, and an evocative document from one of Finland’s finest.
If you don’t already have this, you should waste no time in procuring it, as I don’t think Opyros has many copies left in stock, if any.
[9.5]
© 2000 equimanthorn
Where Hailstorm was rather unspectacular, something that can be attributed mostly to the poor, noisy mix, this surpasses the former in every department imaginable, a smorgasbord of macabre, chilling and blackened doom metal genius, or “Jet Black Metal”, as they so aptly describe it.
The Barathrum sound revolves around incredibly bass heavy compositions, something that naturally arises from their use of two bass guitars as a band would employ a rhythm and lead guitar. Much like Necromantia, this bottom heavy sound aids in the creation of a truly tortuous, and primordial, sinister atmosphere. As can be expected, songs don’t venture beyond a slow to medium pace. Compositions are ritualistic, primitive and share more traits with earlier Saint Vitus, Count Raven and Trouble than any contemporary black metal outfits, a quality that is deeply appreciated by this doom metal maven. Drums are only used to maintain the ritualistic, monotonous and primordial tempo of the proceedings, and the bestial, distorted vocals sound truly unique. Guitars don’t seem to be employed for any purpose than to provide an ambient, fuzzy background to the more prominent basswork, a combination which ends up providing some truly memorable riffs, which culminate in the unbelievable “Nocturnal Dance”, a consummate exercise in doom-ridden, monumental Saint Vitus- afflicted black doom orgy. Definitely the strongest cut on the album, this alone is worth any amount of your sweaty money.
The production is a tad lightweight, which has to be my only complaint of the record. For some outfits ie Forgotten Woods, Joyless etc., this subdued, rock-esque production is rather effective, but it robs from this recording, particularly because I think that the bass can be further emphasised and pushed forward. Barathrum have still failed to capture that in their music, with their latest endeavours on Spinefarm being sorely lacking in the bottom-heavy savagery that won them such acclaim earlier. However, as a work judged on musical merit, atmosphere and feeling alone, this Barathrum record outdoes most anything out there, and is only barely surpassed by their paramount opus, “Infernal”. Not a duff track in sight, and without a doubt a landmark in Satanic, infernal evil metal, and an evocative document from one of Finland’s finest.
If you don’t already have this, you should waste no time in procuring it, as I don’t think Opyros has many copies left in stock, if any.
[9.5]
© 2000 equimanthorn