SHAARIMOTH Temple of the Adversarial Fire

Well crafted and nicely produced, Temple of the Adversarial Fire by Shaarimoth , appears to be a nice mixture of 90s black metal fun.  This is more in the epic vein, rather than underground sounding.  Lets face it: the first two songs are great.  There is a nice mixture of riffs and beats, with short phrasing.  It is a bit heavy on vocals. They can get tiring at points.  Bands I hear as influences here include Emperor, Morbid Angel, early My Dying Bride, and Bal Saggoth. Making my way through the album, song 3 leads with annoying vocals (minus 1 star), over a slower heavier riff.  In song 4, am waiting for the album to get its mojo back. It does, with a European blast beat that has a sick lower grinded guitar counterpart. A fun, evil Samael style rock riff emerges from that. Some of the vocals still are iffy, but the guitar playing is growing on me. Why is the album so choppy though?

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Sin and Despair in Deathcrush

At the truest heart of metal lies a voice embodied, somewhat childishly, somewhat ineptly, but no less clearly and latent with potential, by Mayhem’s Deathcrush. The re-inversion of all values that metal enacts starts with the embracing of what modernity would see as its sickness unto death. The despair and sin of sickness unto death become vital active elements in the morbid minds of those who would vanquish dogmatic preconceptions in the Sky God Religions and their secular humanist counterparts.  Being, in essence a way of connecting back to itself, the ideological blockages set up by this dead-end society had to be faced head on.  Herein lies the relevance and meaning of the present album.  Despair is converted into pure energy, the rules disavowed, the road of sin is tread fanatically as a method of purification —a negative unity of evil towards the beyond, away from human-ness in its modern form, away from mundanity.  For the burgeoning underground, as seen from Mayhem’s perspective, primacy would placed on being and its dark discovery of self, against the presumption of knowing, and the oppressive, futile impositions from above.  All knowing, all value of music, would come from this ‘being’, from a dark exploration of the soul possessed by a cosmic force of destruction.

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The Imperial Reign of Emperor

The most technically and musically gifted band of the Norwegian black metal scene, the legendary Emperor are also the most well known outside of the documentary-level engagement that plagues most who know of Burzum and Mayhem.  Formed in the small rural town of Telemark Norway as a side project to a soon-forgotten death metal band, the group overcame the imprisonment of 75% of it’s lineup to deliver the most grandiose album of early 90s black metal.  Though Emperor’s career was far from perfect, it made a profound impact on the young genre and ultimately proved it’s limitless developmental possibility.
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NIGHTMARE: LORDS OF CHAOS MOVIE COMPLETED, PREMIERED AT SUNDANCE


It’s actually happening.  After decades of “will they” speculation, directors picking up and dropping the project, rumors of Twilight actors playing Varg Vikernes, and a boycott by virtually every member of the original scene the Rory Culkin led bastardization of Norway’s finest Lords of Chaos premiered at Sundance this week.  In the ultimate defeat, death, and burial of Norweigian black metal- a movement opposed to everything commercial, financial, and mainstream- we will soon see a polished Hollywood narrative of this beloved movement pollution theaters across the globe.

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Susperia- The Lyricist

Susperia claim to be a Norwegian black metal that now plays melodic thrash metal.  Most of the members of this band have been involved with some fairly big projects as session players.  As a band they have spent the last 18 years playing some fairly standard commercial metal in the hope of actually breaking out in the way of Dimmu Borgir and Nightwish. But as either metal or a pop album, The Lyricist fails miserably.
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Bring Back The Apocalyptic Raids

Hellhammer is the ultimate symbol of what black metal should be about: a free exploration of dark phrasal music at the hands of a twisted mind.  Typically it was not only the chromatic movements between sections which defined the music of Hellhammer but the linking between them, whose effect was great because individual sections were in fact proper tonal areas.  It was their sensible juxtaposition, which gave the music its unique flavor.  Furthermore, the maniac howling of Tom G. Warrior added the final touches of a music that was to set the example for an enactment that resembled an entrancing ritual more than it did a simple, mundane hedonism and biker metal, which had been the rule until that point.

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Ancient – “Eerily Howling Winds” (1993)

As previously pointed out by the editor of this site, metal demo recordings does not exist as crass commercial propositions with the sole purpose of advertising the market viability of the artist, but function — at least ideally — as independent works produced and distributed without further infringement from the recording industry. In spite of eventual shortcomings resulting from lack of budget, experience, and time, demo-level recordings remain a breath of fresh air because they oftentimes capture bands at a nascent and untempered creative stage.

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Mayhem – Wolf’s Lair Abyss (1997)

Wolf’s Lair Abyss was the first new proposition by the remaining Mayhem line up after De Mysteriis Dom Sathanas, and all the personal drama and loss that it signified.  Needless to say, the pressure upon the band on the musical level- especially of music as a dark art, as Euronymous would have it- was quite high.  Expectations after an Immortal album of far and wide reach were not at all encouraging.  The remainder of the band had to find a way in which they could work from the solid basis of the past towards a unique development that did not come off as an insult or a betrayal to all that had been accomplished.  The solution found by the band here was almost perfect, but it ultimately was only a transition whose eventual development would show if the full potential for growth would be adeptly exploited.  Still, there is much to be said about the unique identity of this brief but memorable foray into chaos.

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Black Funeral – Ankou and the Death Fire (2016)

Counting among the longest running US black metal institutions to date, Black Funeral has given birth to a motley collection of musical works over the last twenty-five years, spanning regional adaptions of Northern European black metal, over dark ambient and archaic/industrial drones, through the Les Legions Noires-styled raw melodic approach of later years.

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