Leviathan – Scar Sighted (2015)

Leviathan - Scar Sighted (2015)
Review by Corey M

USBM (United States Black Metal) as a term encompasses such varying sounds as the primal war chants of Von, the uncompromisingly precise assault of Averse Sefira, and the operatic mewling of Weakling. Scar Sighted, Leviathan’s newest release, is still USBM but typically is categorized by fans as “depressive suicidal black metal,” along the stylistic lines of Sweden’s Shining and fellow American Xasthur.

Unlike the epic and powerful surge of teeth-clenching energy that one feels from black metal ne plus ultra like Sacramentum, Immortal, or Darkthrone, Leviathan’s music is more about… who knows? Something relatively vague but generally negative, self-loathing, and frankly boring. Take this line of lyric; “All of us have become like one who is unclean, and all our righteous acts are like filthy rags; we all shrivel up and like the wind our sins sweep us away.” This line seems assertive and confident; you may wonder what meaning this cryptic passage may hold. And wonder you shall, forever, because placing it in the context of the rest of the song does not reveal any clearer meaning. There is no point other than the expression of narrow-sighted negativity. This is the unifying theme of Scar Sighted; a gross misdirection of self-contempt projected toward any and all things outside the self, with uninformed “occultic” references mixed in for good measure.

My contention with Scar Sighted is not just with the lyrics, though. The composition of each song reflects the fragmentation apparent in the lyrics, throwing out one cool-sounding line after another, but leaving the observant listener with a stark sense of having witnessed a slide show of barely-related images. Melodies come and go with nary a whimper as the listener gets deeper into each song. Certainly, a lot of blustery riffs throughout the album got me excited and interested in hearing where the music would lead me next. But that makes the album all the more disappointing, as one song can throw a series of two or three engaging riffs at you and then switch tracks completely and strand you amidst a wash of dissonant non-melody that, rather than moving the song forward, just wallows within its own two-or-three chord cycle that doesn’t relate to any other part of the song.

To Wrest’s credit, a lot of the riffs are very cool, and he has a refined sense of how long a riff can be exploited before it becomes too boring for repetition. Sometimes, he makes the right choice and heads into a complimentary riff to accentuate the previous one. However, more often than not, the last riff is shrugged off and a whole new feeling is admitted, complete with a disparate drum beat, a new scale, and, too often, a new vocal style. Wrest has a very intense low-end growl that synergizes with the grimy, slimy, bass-heavy sound that is wonderfully mixed on this album. Wrest is clearly a craftsman that takes his work seriously and not a lazy writer. However, the result of his work is an incoherent collection of songs, some of which sound like they could come from a post-hardcore band on Level Plane in the early 2000s. With that in mind, Scar Sighted wouldn’t be a bad album by any means if it weren’t marketed as black metal. But when contrasted with the standards of black metal and the techniques employed by the best bands, we find that the intensely personally-focused introspective meanderings of Leviathan fall apart.

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Demoncy signs to Nuclear War Now! Productions

A promotional picture from Demoncy
Demoncy is another one of the site’s favorites, at least if the old Dark Legions Archives are to be believed. After rerecording Empire of the Fallen Angel two years ago, their decision to join up with Nuclear War Now! Productions may end up bringing them some extra exposure for their various projects. So far, NWN appears to be assisting with three major tasks. First, Demoncy is working on a new studio album – Ascension of a Star Long Fallen‘s release date has yet to be confirmed, but it will probably follow the approach established on 2012’s Enthroned Is The Night. In addition, the label is promising vinyl rereleases of the band’s earliest material, including their debut album. Finally, Demoncy is expected to perform at Nuclear War Now! Fest V in November 2016. Prior to this, Demoncy seems to have spent their career fitfully jumping between record labels, but this might bring them some helpful stability.

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Abbath debuts newly recorded song (“Winter Bane”)

https://soundcloud.com/abdelsalam-schopenhauer/abbath-winter-bane

Article by Daniel Maarat

Addict in denial Abbath Doom Occulta has previewed a new track with Metal Hammer from his solo project, Abbath. Winter Bane “…comes with many of the qualities that are the essence of this band: epic, honest, powerful, and a heavy headbanger.” Surely many neck vertebrae will be dislocated by this radio pop for nasal decongestants attempt, but many more by decades-old Immortal material:

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Update on Summoning’s upcoming studio album

summoning-large-headline

Summoning has been working on their latest studio album for about a year now. More recently (although admittedly some months ago), they spoke to a writer at Darkview about their plans for the upcoming album. So far, the band members continue to emphasize a degree of continuity with the style established on Old Morning’s Dawn, ranging from its more depressive atmosphere to the reuse of material originally intended for that album. On the other hand, Silenus suggests that some aspects of the music (like the melodic lines) may end up more like older albums, such as Oath Bound and Let Mortal Heroes Sing Your Fame. Regardless of what material it takes after, it’s likely that Summoning’s next album will be of some merit, and we’ll certainly update you on it once we have more concrete information.

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Celtic Frost’s To Mega Therion turns 30

Celtic Frost - To Mega Therion (2015)
It might not be as important to the Celtic Frost/Hellhammer legacy as its immediate predecessors, but To Mega Therion is still a fine work of metal 30 years (and four days) after its release. Many early underground metal recordings are noted for stripping their musical content to a bare minimum of function and simultaneously exploring new methods of arrangement and songwriting. To Mega Therion, on the other hand, takes a step towards refining the new standard, with more elaborate instrumentation, production, and songwriting than the EPs that came before it. It’s still more restrained in its aesthetic exploration than anything else Celtic Frost released, but listeners can easily hear how some of the more obvious experiments here (timpani, occasional female vocals, etc.) anticipate elements that would become fixtures in the band’s later works, and furthermore in the plethora of subgenres to follow.

https://www.youtube.com/watch?v=9SgtScsVUg4

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Hades Almighty – Pyre Era, Black! (2015)

Hades Almighty - Pyre Era, Black! (2015)

Review by Daniel McCormick

According to the FBI, 90% of arsonists are male, and usually white. Studies show that these perpetrators are young, angry, and often acting out of a belief of revenge. The founder of Hades Almighty, Jorn Tunsberg, was 22 when he decided to make a “statement to breakdown Christianity” and proceeded to torch the Åsane church in Bergen, Norway on Christmas Eve in 1992. This flair for dramatic communication, based in anti-Christian sentiment and pride for heritage, is still forging quality metal after all these years. Enter Pyre Era, Black!, the first album released by Hades Almighty in nearly a decade and a half. This EP clocks in at just under twenty minutes and consists of three tracks with rather ambiguous titles. Because of the ambiguity I didn’t know what to make of this prior to actually hearing it, but I was skeptical. Luckily, upon my initial play through, I was happily surprised while also finding the direction had gone somewhere unexpected.

The music is reminiscent of prior Hades material, but with a diminished black metal feel, and a greater focus on cleaner texture and ambiance that lends a modern body to the traditional Hades sound. This is embellished by a well mixed depth in the structures that actively engages the listener, and by building within the repetition via a variety of ideas that keep the experience from growing dull. This is backed by a crushing rhythm section that is a perfect fit to the style. The vocals on the album are consistent, well laid out, but done in a mostly folk/viking style with very little in the black metal voice of old.

Of the three songs the final track seems the most interesting and developed, and I hope to see Hades advancing more in this direction. It differs from previous works of Hades by incorporating greater accessibility, a more stylized tonality, and also by incorporating a sense of abstraction into supporting ideas. Despite its less than ingenious title this track has an extremely creative mixture of things going on: from stand out bass work to well dispersed acoustic/ clean guitar to a peculiar industrial break to oddly melodic screaming etc. I find my tongue nearly tied to explain the diversity, there’s a progressive, folk, black, viking, original thing going on here that is just beyond the scope of a great number of generic modern acts. Which is more to say that it doesn’t try, but is; a sound denoting inspiration not aspiration. The arrangement seems an orchestration with an ‘inner law’ as Nietzsche defines, “relative to an individual culture.”… …in this case, to true Norwegian metal. Particularly in the main portion of the final track, running from about 01:00 to 07:00, one finds a mix of nontechnical riffs with hammering aggression in accentuation, and an emotional, black ponderance arising in the revolving tonic chord which therein is impressed with a number of tension inducing, numinous evincing, foreground embellishments.  A fine example of song writing prowess, and the best track to check out to decide if you should pick up this release.

Overall, I’ve been a fan of Hades since ’98/’99 and I’m proud to say this heathen is still one. So go pick up this record now(!), blast it on eleven, and burn down a church for the glory of Odin.

 

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Melechesh – Enki (2015)

Melechesh - Enki (2015)
Back in 2010, Melechesh’s previous album (The Epigenesis) made its way onto our “Best of 2010” list. I don’t know what to make of that, but this year’s batch of Melechesh doesn’t live up to that hype, despite sticking to the band’s signature mixture of streamlined extreme metal with older substyles and (importantly) a Middle Eastern folk garnish. The problem here is a common one – directionless, flat, almost random songwriting. Whether or not this afflicted previous works by the band is hopefully something someone more versed in their past might be able to shed some light on.
(more…)

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Are you “untrue”?

german_pipe_smoker

We get a lot of comments here, but a frequent type — and they are nearly identical — is this:

This site has really gone to shit. Instead of doing articles about true underground metal, you’ve got all these stupid articles on tobacco, whiskey, SJWs and beer.

This is a variation on an old argument that splits the “No True Scotsman” logical fallacy in half. If you recall, that fallacy takes this form:

Person 1: Christians do not spit on their enemies.
Person 2: The pope just hocked a loogie onto the Queen.
Person 1: He’s not a true Christian, just a pro forma one.

Sometimes fallacies are not fallacies per se but a description of a common trope of language used to deflect an argument. When used wrongly, they fail, such as slippery slope, which is a real argument but is frequently used by ham-handed idiots (“If we legalize heavy metal, people will turn to Nazism next!”). The No True Scotsman argument is a fallacy when used to enforce a broken category, but not when it points out the exception strengthens the rule. For example, most Christians will not spit on the Queen, and that pope might just be out of line.

In the case of metal, trueness exists. It refers to people who understand metal on its own terms, instead of re-purposing it for their own social needs like hipsters do, and uphold that worldview and values system which we might call a “culture.” On the other hand, some are quick to call “untrue” anything which does not fit a selective stereotype of metalheads as being only about music and a certain lifestyle. These types are not scene-policing, but bullying others into accepting lowest common denominator behavior.

Wearing denim vests with patches, drinking trendy beer and buying lots of metal albums is not what metal is about. It’s false signaling to allow useless people to join the community because doing those things is easy, where living and understanding metal — a form of art with its own outlook and philosophy, like most artistic movements — takes some effort internal to the human being. And that is what most refuse to do. They do not want to internalize learning and share themselves and limit their own reckless impulses. They would rather have a surface-level conformity that gains them entrance to the group, and to do that, they need to spit on anyone who thinks metal is more than credit card payments, goofy clothing and being drunk all the time.

I tend to reply to such people with these:

Feel free to send in articles or ideas.

So far, none have taken me up on this. How can results be so consistent? It’s in the psychology: their psychology is not about what they say it is about, which is articles about metal. Their psychology is in putting others down by claiming those others are untrue, only so that they can in turn claim they are true for these token conformist attributes. They will never contribute… because their contribution is angry, pointless criticism. They will never do more than that. You will find whole forums (NWN/FMP) full of such people. They are hipsters of another stripe.

They remind me of another type of person that I call “the California personality.” This type is very common among bloggers. They are equal parts self-promoting and defensive, with a totalitarian intolerance of anything that seems to them to be critical of them or their choices in life. The California personality will always tell you how amazing their life is, and how they’ve made choices that magically worked out in defiance of conventional wisdom. If people think it is unsafe to walk the Cass Corridor after dark, the California personality went there and not only was safe, but met a famous artist and partied till dawn drinking artisanal wine. If people think you shouldn’t build your house on a fault line, the California personality lives in the fault and has a precious, sunlight-kissed bungalow (which is highly energy efficient).

The California personality will fool you for some time. You will look at your own life, and wonder why you don’t get such great results. They, on the other hand, appear to be picked by the hand of God to succeed in everything. But over time, you start seeing cracks in their narrative. The great house actually has lots of leaks, which is why they’re selling it. The artist they met in the Cass Corridor held them hostage until dawn and drank all their artisanal wine. Their statements are not merely rose-colored, but outright lies. A California personality goes through life always justifying their decisions as successes, after the fact, when often they are simply chumps making poor choices but are good at making those choices seem appealing to others.

The same mentality infests the hipsters, tryhards, poseurs and “trve kvlt” types in metal. Their own lives are ruins, but they want to hide that by putting down your life. They contribute nothing, but want to pull down your contributions. Like lifestyle bloggers (especially the odious “mommy bloggers”) they want to show you their great-looking children, quirky recipes and fantastic decorating choices, but are hiding a vast inner despair as their marriages fail, careers stall, and total lack of ideas creates lack of personal direction. These people are not here to do anything, but to partake in the doing of others. It’s why they are best mocked and pushed aside as this article hopes to do.

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Varathron – The Confessional of the Black Penitents (2015)

Varathron - The Confessional of the Black Penitents (2015)
As half original work (a short EP) and half live document, The Confessional of the Black Penitents seems more compilation than unified album at first glance. I wouldn’t be surprised if the live tracks were added in an attempt to increase the supposed ‘value’ of this EP, but this is one of those cases where the commercial intent of a tracklisting decision seems less important than its overall effect on how I engage with the tracks themselves.

Varathron does admittedly stick to the stereotypical “Greek” aesthetic on the original half of this EP – in this case, a combination of contemporary black metal technique and production with elements of older metal and rock. After an extended intro, the two lengthy tracks that form the core of this half tend to explore this by alternating more overtly extreme sections with slower sections similar to older works and frequently interspersed with melodic guitar leads. These tracks showcase a strength of organization and a tasteful, limited incorporation of modern metal elements in a fashion similar to that of the band’s previous album. Based on this, and compared to other bands in the Greek scene, Varathron has aged gracefully, avoiding the contrasting pitfalls of endless repetition, excess streamlining, or overextension in the name of artistic progress or even just diversity.

The live half of this recording could serve as a general survey of Varathron as reinterpreted through the band’s modern lineup, although it is lacking in the band’s 2000s output. With three of its four tracks sourced from the band’s earliest days, it showcases the often slower and sparser approach of the band’s earliest days. Even the faster, blasting components showcased on the original tracks here make some appearance, so the main difference appears to be that in their ‘classic’ era, Varathron focused more on the rhythmic and percussive elements of their music. The other live track comes from 2014’s Untrodden Corridors of Hades; this rendition does much to render it closer to the older material in sound, which helps highlight the similarity of their songwriting. The production also helps to unify these tracks – while rougher than a proper studio environment, it’s still intelligible and in some ways more polished than that of the original material.

The new studio tracks, at the very least, make The Confessional of the Black Penitents a fine purchase. Fewer will go out of their way to acquire this EP for its live component (although it is apparently Varathron’s first official live release), but it too has value, as it provides an introduction of sorts to the band’s older material.

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Summoning’s Minas Morgul turns 20 this week

Summoning - Minas Morgul (2015)
On October 16th, 1995, Napalm Records released Summoning’s second album, Minas Morgul; it is arguably the first release by the band to showcase their signature sound. Minas Morgul is heavy on repetition, ambiance, and cheap keyboards, but in spite of its minimalist elements (or perhaps because of them), it’s a surprisingly sophisticated work. On full display here is Summoning’s ability to convey an overarching mood or idea without resorting to extreme aesthetic shifts or overstuffing their tracks. In the process, Summoning often leaves behind conventional black metal technique but never abandons the themes at the core of their music – war, wandering, fantasy, triumph, and so forth. The band’s next album (Dol Guldur) refines much of the technique and production surrounding this approach, but Minas Morgul is still an excellent album 20 years after its debut.

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