Recently, I found a Youtube channel called “Atmospheric Black Metal Albums” devoted to what hipster urban lumberjacks have termed “atmospheric black metal”. We must call attention to the horrible Youtube, supposedly “black metal” sub-genre festering right under our noses for it is wholly different from the Eastern European flowing varietal.31 Comments
Vod is the one-man project of bassist Dave Trembley. Announced as an indescribable anomaly, a blend of interesting ideas in astounding ways, this is a actually a fairly clear mixture of influences that never coalesces into an original voice. Dancing and jumping between general ambient, post rock, and the break-down metal of Meshuggah (mostly in derivative and simplified Djentish manner, for groove more than for percussion wankery). The whole album is nonetheless covered by a recognizable blanket, although it is not a distinct expression but only a consistency in the use of the same collection of styles.
Rather than establish a mood and submerge the listener in it, or take us into a spiraling well of moments to build atmosphere, Vod simply gives us cool-vibe-inducing moments gathered from the aforementioned genres. Heavily relying on the most primal effects of both ambient and Djent, Tuurngait will often fall into a simple ambient drone or into the simplest and easiest to catch syncopated modern groove. Careful and smooth in taking the songs from a whisper to a full-on groove-party, this music is good conversation material as it is easy to digest.
The seed of Desecresy’s music contains a basal melodic notion or two, not without poignant appeal, which then comes to gradual bloom in an unhurried, self-assured manner. Songs on principle do not outstay their welcome but Desecresy’s approach towards writing revolves solely around realizing vehicles for this germ of an initial premise, in the process sublimating the interstitial stuff that goes into the making of a fully-fleshed, narrative piece.
Flirting rarely with outright aggression, Desecresy prove adept at developing the elegant, bittersweet melodies typical of Finnish death metal, using a mid-tempo style reminiscent of Bolt Thrower, Vore, and Ominous Crucifix for these hooks to sink in. The result is an album curiously devoid of visceral thrills but one that will serve perfectly well as amicable background accompaniment.
This is no slant against the band. Desecresy’s intentions are redoubtable but they could conceivably be making more resonant death metal if they gave away their Honour-Valor-Pride CDs and let their collective imaginations take flight. While the lack of variation in speed renders a sameness to much of Chasmic Transcendence, it is obvious that this is of the band’s volition. Desecresy choose to meander along this detourless path, confident in betting the house on the inherent quality of the melancholic nuggets they litter through the album; more than a few of these are thoughtfully crafted, and capable of launching songs on an altogether different trajectory in another band’s hands (see Creepmime or Deathevokation). Unfortunately, for Desecresy, the monotonous, simplistic nature of bridges linking these phrases — usually little more than a muted, open string or rambling, inconsequential power chords — makes these songs a game of waiting for the next cute part.
This, of course, is a caveat of this particular style of droning death metal; the few good bands trawling these waters are able to create a consistent mood on an expansive, album-wide scale. Desecresy can certainly not be accused of striking discordant notes in this respect; Chasmic Transcendence is a relatively seamless experience but that is a low bar to meet when the band’s sense of adventure clings so close to the ground.13 Comments
A new series of articles in which the writer explains why his tastes in music are so impeccable. The title of the series is a cheap spin on a recurring sketch from the English comedy show The Fast Show.
Doom divides metalhead opinions. Arguably a lot of it is just regular heavy metal slowed down, so probably doesn’t deserve to be considered a separate entity, and while there isn’t really a definable doom “scene” the music does attract a type of personality and culture that is fatalistic and overly emotional, i.e. not very metal.
Considered one of the fore-runners of funeral doom (doom played very, very slow), Stormcrowfleet inverts the rock music expectations for predictable, foot-tapping rhythms and offers spacious, atmosphere-heavy music with the rhythmic elements subordinated to the melodic and textural components.
Many doom albums that are near-misses succeed in evoking a morbid, foreboding atmosphere but ultimately fall short because they are music about personality dramas, rather than, as with all the finest metal, music made to mythologicize existence. Stormcrowfleet succeeds because it offers a worldview that is not overwhelmed by external trials, but embraces them and uses them to reframe individual life in the context of something more majestic.
Similarly to Burzum, it creates an experience that is journey-like and transformative, yet vaguely sentimental, although in a way that directs the sentiment towards cosmos, nature, and mysticism. The album as a whole entity doesn’t really arc and conclude as neatly as a Burzum album, but instead it leaves a sense of the thoughts and emotions of the album lingering for a while after it has finished, leaving normal life to seep slowly back in to the room after the experience of the music has finished.
By the healing waters
Of my lovely shores
The air so bleak
I breathed with my eyes
With my ears
Through aeons went my journey
From these mountains
I swear the world
I am the hammer
I am lightning
By the signs I shall return
To burn all land
Beyond the seas