Notorious violent black metal band Sammath gained a fanbase among the black metal horde for refusing to tone down the intensity of black metal, and instead mixing it with elements of fast technical death metal to achieve an uncompromising sound. Following up on the epic Godless Arrogance, the band faces a massive challenge in exceeding what it has already achieved, but a new demo suggests that this Dutch-German black metal assault has done just that.6 Comments
It is a rare phenomenon when two bands merge, and by doing so they transcend each other’s limitations. Indoctrine is an impressive, albeit experimental record, where noisy Revenge members meet Alan Averill from Primordial, aka violent musicians are enthralled into order by clean vocals and an excellent concept.7 Comments
As a genre less defined aesthetically than on terms of propaganda, NSBM bears the mark of Cain that stigmatizes bands that express a certain ideology. On the basis that music is pure Will, this article focuses on contrasting a split by Der Sturmer, Malsaint and Blutkult with Spear of Longinus on the grounds of understanding and conviction to their ideas, or, to be less dramatic, on how the need to express grander statements creates grander music.70 Comments
Following the peak of John Gelso’s manic laughter melodic sensibility on Thy Kingdom Cum, Profanatica entered artistic decline by releasing the excuse-to-tour Curling Flame of Blasphemy where the riffs were merely those of Disgusting Blasphemy Against God in a lull given a slight boost in populist consonance for the purpose of pleasing crowds. The G.G. Allin of black metal Paul Ledney sounded tired and uninspired which was reflected by the shark-jumping biker bar promotional pictures which were included in the booklet of the album. With Altar of the Virgin Whore we find Profanatica once again selling an excuse to tour only this time it is said plainly.26 Comments
When Profanatica could not finish their unreleased album, the genius and creator of the band Paul Ledney took time away from the noise of other musicians to fully realize his vision in composing a short album that took the best of his influences from all over the underground into creating something that would show the world the extent of the musical genius that this man possessed and that he was much more than an alumnus of a few great bands. In this final piece in the Craft of Metal series, we look at one album that managed to open new branches for what was to remain of the underground as the Death metal movement had just began to explode with bands getting signed by big labels all over the place and leaving the most repulsive bands to grow far from the spotlight.35 Comments
Hailing from Rhodes, black metal project The One comes to us from the mastermind behind Macabre Omen, who alongside Varathron have been the most consistent artists in the Hellenic scene during the past few years. The One performs a style of black metal that draws from various influences such as Mayhem, Hellhammer, and Bathory, yet it is filtered through the Hellenic prism of longer melodies and warm, ritual atmosphere.4 Comments
“Neptune Towers” is a song from Darkthrone’s death metal album, Soulside Journey. In this song the artist’s goal is to paint an alien landscape and tell a story, by intertwining riffs and lyrics until they reach an eldritch keyboard climax, which leaves the listener with a sense of awe for the unknown.19 Comments
Written by Merlin Lemasters
Hailing from Finland, Mørketida present us their debut album which, unlike most of the festering horde laying claimant to the precipitous banner of black metal this year, has some actual merit. Perhaps what is most impressive about this release is that, despite its utter reliance on the most elementary of black metal chord and note progressions, there is such a wealth of depth in the interplay between elements that the essential lethargy and entropy prototypical of the modern form of this threadbare genre is fully exceeded. Verily —and in traditional, true black metal fashion— they have made the utmost out of rudiments. Every section here is wrung out, thoroughly, meticulously and by means of layering, coalesced into a microcosm of sound. This is aided by the production’s overlaid murk, an intensely atmospheric affair; manifold veils reveal obscured information upon close inspection, in this way taking its cues from early Burzum. Indeed, most parts of this album can be traced back quite easily enough to the cornerstones of the genre. As mentioned before, the language that makes up the barest essence of this genre is present here in full force and yet that language has been twisted to fit its needs, to create an experience. There is no concession to vanity here, all is arranged in service to a pervading darkness and this puts the craft of this album above most. In this way, it is true, it has not simply regurgitated the requirements of the genre but used them in expression. Traces of Darkthrone, Gorgoroth, Graveland, Ancient and Burzum, all make appearances here, though not in imitation by any means. These classic bands have indeed scribed the language but the arrangement and order of its morphemes is fully Mørketida’s own.
A deliberate brooding pace sets the tone for much of this album, at times finding brief resolution in well-worn, thrumming tremolo bursts, hallmark of the Norwegians. Drums too, are played in the classic way, wisely devoid of any clutter they rumble, blast and accentuate without syncopation, pure in that they do not attempt to suffer arbitraries upon the listener. Vocals chant in intonations obscure, oft buried in the umbrage and at times barely discernible, only made known by their echo, like chanting heard from a cave some distance away. Some brief sections of keys, emphasize moments of power or ambience, they are present in much of this album however, usually as another layer in the foggy production. In its most fervent moments, there is force of passion here, etched out as sharp contrasts between the meandering stride. The brunt of this work appears uniform with its slow chords and droning arpeggios but sections are arranged in repetition only with the greatest patience, never failing to end that which has dwelt too long. In fact, this album is utterly untouched by the inertia of lingering thought-forms past their day; all sections have been measured diligently and like the ancients they shift when it is time, never after or before.
This organic sense of composition is much missed in these days of note clamor, where the essential power of the black metal language is roiled by the entropy of an unnecessary, incessant changing of riffs, vomited out with little application of artistry. Songs are well wrought, there are no loose ends to composition and another impressive facet of this release, there is no excess of vanity, no flirtations with extraneous influence. The uniformity of this approach, with just enough discernible waymarks to keep the listener guided throughout its realm, lends a rare strength to this release. Very few parts make any attempt to be seen as indelible, and of these, the title track in particular sets itself apart by letting the bass wander, exploring different trails and in one glorious moment lets it solo, a longing sonority against the melancholic scratching of the guitars. Moments like this one are rare and with good reason, this is the type of black metal that longs to dwell in worlds away from modernity, it crushes the ego, it spurns the trappings of the mundane. The goal of a permeating, consuming, crepuscule is always in mind and with it; the apprehension of an atmosphere pure, reveling in its fealty to an ultimate darkness. A mature and conservative work in all aspects, what may at cursory glance appear to be contrived or unremarkable will soon prove itself well worthy of study.
Experience it as a whole and experience it with headphones!
Released in 1999, Unholy Extreme Black is the second of two demos released by the transitory Finnish black metal project Helwetti. Here, Helwetti provides richness through depth in the reach of its rather brief material by making constrained technique malleable to the natural requirements of a flow aimed at bringing in new ideas in a coherent yet always evolving stream. The secret of the elite, almost non-existent underground to producing rare minimalist music of such sublety is a rather bestial and ritualistique effort fueled by dark spiritual ideas founded on enacted reclusiveness. Within this darkness embraced, the true artist manages to bring a powerful invocation of infernal —lower-world, unconscious to the uninitiated— forces in a way that most of the later, allegedly more mature, projects have never reached by a long. The racing melodies of Helwetti’s music in traditional black metal dissonances arranged through percussive changes, opportune breaks and vocal overlays raise its minimalist expression to the best that could possibly be achieved while remaining so simple. The vocals on this recording are an incredible delight to listen to as they express a nuanced wealth of emotions, within this limited framework as the rest of the instruments, greatly adding to the overall atmosphere. The necro sound resulting from the tampering with the original sound gives it a veiled that is certainly not a detriment to the sound of the instruments. Thereby, the clarity of the instruments is not only maintained throughout, but it actually attenuates distractions typical to the metal genre, allowing the merit of the musical arrangements to come to the foreground.
In the matter of technique, guitars do not go beyond softly strummed power chords, not quite fast downstrokes and “tremolo picking” on one string. The bass serves as a proper low frequency holder that does not get in the way but noticeably reinforces the texture of the music. Drums vary between laid back, standard rock patterns in duple time, sometimes with triplet feels, that go on smooth crescendos of double-bass runs; these patterns are then alternated with “d-beats” at different speeds, depending on the location within the pieces. These are all very standard and quite basic techniques, but what raises this demo in musical, rather than technical quality, is arrangement of the parts. Logic is not enough, but a sense of naturality must be expressed that can only be correctly represented by the use of intuition. Black metal in general prides itself in placing intuition before mere logic or the debasing —often clownish and overbearing— technique flaunting of death metal. However, intuition depends entirely on an inwardly developed or innately inherited talent of the individual that is not produced by the application of logic. Also, under close inspection, music resulting from the application of logic (structure-oriented death metal, for instance) is quite different from music prominently steeped in the application of intuition (like the best of black metal). Which means that a lot is outside the normally conscious, calculable control of the individual composing. It is just in this trap that the elitism of black metal lies.
Within the seemingly narrow constraints of raw black metal, we can appreciate how Helwetti creates a rich variety of fluxions which overflow one into the next. Without leaving any question regarding the soundness of their transformations, adjacent patterns are related by transitions that flow smoothly as water downstream. More interestingly, the four different pieces in this demo act as movements within one work. Arguably, many underground demos were compounded in this way. And without there necessarily being a conscious intent in relating it to the classical tradition, the effect is somewhat similar when a release of the stature of Unholy Extreme Black manages to present variety of texture and theme within a coherent and consistent style, bringing interrelated pieces together further under an hidden phantasm grasped by the artist’s senses. It is in communion with “Satan,” “satans,” or “dead things,” and in their consistent, focused sensations thereof, that the black metal musician brings a stream of riffs directed at channeling patterns which vibrate with what is perceived in altered states. The extent to which such a communion is attained, and perhaps the authenticity or the quality of the experience, is what makes the results vary —not to mention actual musical talent. This is precisely the “ritual” to which many a wordless black metal acolytes (For who is truly an adept in this inherently left-handed path?) refer when attempting to describe what this music is as opposed to other kinds of “music” that are aimed at entertainment or technical exercise or narcissistic indulgence.
The early phenomenon of Old Wainds played an extremely condensed and straightforward style of black metal that represented the ultimate distillation of what the genre had to offer as a sequence of meaningful flows based on guitar riffs that form aggressively articulated phrases the pressure of which is carefully regulated. The project was a great exception to the reliable rule that says, from experience, that black metal (or metal music in general) from Slavic countries has nothing to offer musically. More often than not, what is called “slavic black metal” is anything but, and in the best of cases falls into what has been misleadingly and ironically called “flowing black metal” to describe a pointless, melodic meandering rock music that lacks significant changes in pacing and texture, and so never is never able to produce the necessary dynamics of tension and release. Alas, Old Wainds plays the exalted and unassuming post-1995 black metal form first seen in the condensed masterpiece of Uranium 235, crushing the heads of the genre as a whole, dividing the line between mundane scenester fanboys and solitary black mystics.
Навь (Nav’) was Old Wainds’ twin project, in which at least one of the band members differed. Musically, what distinguished the two was a the attempted emphasis of Nav’ on more fluid tendencies and softer contours, even if ever so slightly in comparison to Old Wainds. Nav’s distinct aim is arrived at in their first full-length, Чертоги смерти (2004), which basically was a pleasant but weak exposition of the melodic component already present in the best of Old Wainds’ music. While Old Wainds from the beginning has a very narrow style, in the sense of being impressively mature and well-formed, rather than incapacitatingly rigid, Nav’ expresses the riffing and melodic avenues that are left over from the former, but which still fall within this aggressive, dark music.
In time, both projects fell out of grace by their own hand, in a rather telling way that perhaps reveals who the artistic luminary was in both groups. While Kull only participates in the Nav’ demo that is reproduced in this split, along with the second Old Wainds demo, he participates in Old Wainds in every release until Oбжигающий холодный —Scalding Coldness— (2005), a comparatively weakened but still recognizable expression of the project founded on proper black metal riff-flurry. After Kull leaves Old Wainds, the music changes drastically in to a completely uninspired imitation of itself, a sign that the departing element in the team was the author of the significant phrases at the center of the music. This is also true of Nav’, whose best work is found in their 1998 demo Гимн холодному безмолвию, reproduced in this split, and which sees the only apparition of Kull in the project.
Furthermore, after their first full length, Where the Snows are Never Gone (1997) —and with the exception of this split which uses material from the second demo from 1999— Old Wainds’ songwriting was suffering from debilitating notions ever since their second full-length album. We sense a lost grasp or connection to the powerful pulse that created a maelstrom around an inward-looking conversation between the riffs, which can only be described as a vortex of encircling energy. The energy in a void whence arises this power is said inner dialogue of the music, that can only be achieved by two necessary elements: the first is that each section must have a clear and significant fluxion  expressed; and the second, consequent of the first, is that these fluxions must achieve a certain dynamic flow in between each other. The interaction between the individual fluxions is most excellently demonstrated in Old Wainds’ debut, and consists in the sense achieved by the parts arranged in sequence, first of all, but also in how they match simultaneously. They who grasp the meaning of this lexic contradiction, but that is not a contradiction in the phenomenon described, may have a first key to unlocking the more effective value of this black metal to the more superfluous acts considered de rigueur.
 https://www.deathmetal.org/article/black-fluxions/5 Comments