This is a split with contributions from four different bands, each of which present three full recordings, making the release altogether rich and diverse. Most, if not all, of the tracks sound under produced, which is a good thing when the listener wants to dig into the real bones of the band, undistracted by the direct impression of “great sound.” While none of the bands here is particularly original, or even possessing a clear line of musical development, the split is enjoyable as a forcefully elaborate underground effort to develop expression within the modern black metal (actual black metal, that is) context.
Tags: 2016, Black Metal, diabolus amator, gravespawn, Infirmos Vocat Deus Fidei, split, vesterian, wormreich
Hidden in plain sight, there is some fine metal being released- even in recent years. Nestled in the convoluted release schedule of one of the most popular indie rock labels (although in fairness, Profound Lore has gotten death metal right before) is a rare foray into dissonant death metal grandeur that is certainly worthy of praise. The newest solo project by Numinas/Crom/Dario Denerio, whose well-ventured resume also includes Infestor, Khrom, and Evoken, Ritual Chamber’s 2016 full length debut Obscurations (to Feast on the Seraphim) masterfully imports the lost wisdom of classic death metal spirit into a contemporary flesh of sound and production. Suffering from poor marketing through mainstream channels and tired aesthetic trends that mask its originality, this cultured release flew well off the radar of the audience it was most suited for and was not digestible enough for the retro/rehash death metal crowd of hipster swine it mostly reached. But although it initially evaded the underground’s most trustworthy mediums, Death Metal Underground’s undying commitment to unearthing the best in the genre now gives us a late opportunity to acknowledge a great work of elegance.
Tags: 2016, 2017, death metal, good albums, metal, reviews, ritual chamber
Some releases go neglected upon release as their poor production makes it too hard to discern what is actually being played for those without neutral high-fidelity setups. Upon upgrading my own, I realized that Irillion’s debut Egledhron EP is one of them. The production is so muddy and filthy that even warm “audiophile” style setups have a hard time discerning what the downtuned and distorted electric guitars are playing. While two earlier Sadistic Metal Reviews from our staff noted the recording as a promising but inferior, listening on a more revealing setup reveals Irillion’s self-recorded musical intentions and goals: Irillion wish to play flowing Eastern European black metal like Graveland with a filthy Joined in Darkness era Demoncy style production and atmosphere and an almost Transilvanian Hunger manner of variation.
Tags: 2016, Black Metal, Colombia, egledhron, EP, flowing black metal, irillion, progressive, re-review, review, venezuela
Review contributed to Death Metal Underground by Rainer Weikusat.
Burial is a hipster/ bald beardo band from Manchester, England who claim to play black metal. Unholy Sedition‘s tracks are all pretty short, staying within the radio rock “about 3 minutes” window. Thus all of the songs are arranged like radio rock songs rather than in death metal riff mazes or black metal melodic narratives. Burial do not even try to actually play those genres of music; only to imitate the aesthetics of prior imitations in a poorly done Khyber Pass Copy constructed in a cargo-cult fashion by primitive tribesmen in a pathetic attempt at idolization.
Tags: 2016, black 'n roll, burial, review, united kingdom
Op de beenderen van onze voorvaderen is yet another another Dutch black metal record heavily influenced by Gorgoroth and Zyklon-B like Tarnkappe. Elfsgedroch however structures riffs as hyper-extended, arpeggiated tremolo-picked chords in incredibly long to the point of droning phrases in the manner of French Canadian band Sorcier des Glaces, who are indeed the band’s primary influence. Clever but occasionally too sappy harmonies similar to Master’s Hammer‘s Bartok and folk influenced heavy metal ones on Ritual but way more annoying pervade the record.
Tags: 2016, Black Metal, Dutch black metal, elfsgedroch, review, the netherlands
Article by Lance Viggiano.
Solitvdo are yet another epic sounding sing-along, rootin’ tootin’, arm swingin’, marble-pilled good time with yer ole partner melancholy. Think Vikinglider Veldi with riffs about a quarter of the length, half the inspiration and none of the thoughtful placement. Riffing on Hierarkhes is mostly inspired by nu-Rotting Christ but with triumphant melodies echoing swords and sandals epics, song structures are mostly sing-along vocal driven black ‘n’ roll about the Romans, culminating in solos by someone just learning to play whose guitar god is not Jupiter Optimus Maximus but Slash from Guns ‘n’ Roses.
Tags: 2016, black 'n roll, Black Metal, boring, drone, drone metal, eremita produzioni, Italy, marble pill, review, solitvdo
Article by David Rosales.
I. Where is the music?
It is very rare to find a general fan of black metal today who has not at least heard of the name of Watain. The kind of fame it has attained, however, is the kind that is mostly based on peripheral affairs rather than the art which Watain is supposed to dedicate itself to. Watain is the kind of ‘entity’ (as most of these bands are now given to call themselves) that is surrounded by a nebulous aura which may at first, if one is inclined to be generous in providing the benefit of the doubt, seem like an hint of something truly profound going on. Now, whether that is the case in regards to the real, transcendent or philosophical knowledge or experience of the people behind Watain is not for the writer to say. On the other hand, the music itself does not seem to display any of the more-than-human qualities it should if one is to believe all the hype. In fact, it reveals itself as a very mundane affair when one is given to delve into a holistic examination of the music in itself, and even more so when seen in relation to the extra-musical portions of the ‘entity’.
Tags: 2016, black 'n roll, mainstream metal, pop metal, reaping death, review, season of mist, single, Sweden, watain
An album judged some of The Best Underground Metal of 2016 but hitherto had yet to receive a dedicated review.
Kshatriya‘s Vsque ad Sidera Vsque ad Inferos is a black metal album celebrating the prehistoric conquest of everything from Ireland to India by pastoral Proto-Indo-European peoples from their urheimat located in the northern reaches of the Pontic-Caspian steppe in what is now Russia and Ukraine. The Indo-Europeans were a martial race among the first peoples to domesticate horses, worshiped the sky father Dyeus Pater, and spoke antecessor of most European languages.
Tags: 2016, Black Metal, eremita produzioni, Italy, Kshatriya, review, vsque ad sidera vsque ad inferos
Article by Lance Viggiano.
Autechre‘s elseq 1-5 is a four hour anthology consisting of five individual EPs, each compiled together loosely upon conceptual coherence between the constituent tracks. elseq 1-5 is an exercise in release format rather than just content; the artists behind Autechre seek to utilize the immediacy of the digital age, releasing tracks “as they go” without traditional limitations imposed by the “album.” Granted of course this collection appeared as a hulking and impenetrable dump rather than a sequence. This point bears worth remembering as this overview proceeds as the temptation to view elseq 1-5 as a complete work, or works, is ingrained in popular habits.
Tags: 2016, Ambient, anthology, Autechre, electronica, experimental, intelligent dance music, review
Thus spoke Matti Karki, one of the greatest voices in death metal, on the often boneheaded Indecent and Obscene.
Tags: 2016, arizmenda, azaxul, crypto-indie, cultes des ghoules, Forteresse, Garroted, gatecreeper, Imposition, mithras, obscure evil, panphage, sadistic metal reviews, The Black Twilight Circle, vlk