tag:blogger.com,1999:blog-73724040540480050482024-02-20T22:54:28.575+00:00polymerpolymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.comBlogger38125tag:blogger.com,1999:blog-7372404054048005048.post-24166428274846594852017-03-27T20:43:00.000+01:002017-03-27T21:26:42.087+01:00Boiling Chrism<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/6/3/2/8/632898.jpg?4633" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/6/3/2/8/632898.jpg?4633" height="200" width="200" /></a></div>
Band: Rebirth of Nefast<br />
Release: 'Tabernaculum' (2017)<br />
<br />
It would be too easy to label 'Tabernaculum' a <i>magnum opus</i>, to box it
off and send it skyward amid the loftiness of similarly top shelf
creations. As much as it is wholly deserving of the accolade, there
would exist an indolence in such an action, and this long-anticipated
full-length from Rebirth of Nefast is worthy of far greater trophies,
far greater than the likes of Album of the Month, or even Album of the
Year can ever truly bestow.<br />
<br />
A
record essentially 11 years in the making (from the advent of the
auspicious 'Only Death' demo in 2006), 'Tabernaculum' is a veritable
labour of love, though such a term may be unsuitable when utilised in
reference to black metal. Like all staggeringly brilliant releases, it
endured mixed fortunes over the years, wrestling rewrites and near
abandonment, as Stephen Lockhart (aka Wann) found himself unwittingly helping to
craft (via the art of studio wizardry) what we today know as the
'Icelandic sound', as well as operating full-time within acclaimed act Sinmara, and lending a live hand to Irish black metal powerhouse Slidhr, the dauntless project of longtime co-conspirator
Joe Deegan.<br />
<br />
In
purely production terms, 'Tabernaculum' is a marvellously clean, tight
and modern black metal record with quite an incomparable sound and
compositional variety. This belies the level of heaviness on offer, most
notable when the more funereal, hypnotic sections give way to twisted
discordance and almost inhumanly precise blasting. Additionally, in
keeping with Rebirth of Nefast's approach and output to date, the album
is lean to within an inch of its life - all fat removed - nothing at all
superfluous, despite its liberal use of layering and one hour plus duration.<br />
<br />
Lockhart's
studio time with noteworthy acts like Svartidauði, Mortuus Umbra,
Mannveira, Dysangelium and Almyrkvi has been well spent, exposing him to
the nuances of the best of contemporary black metal, as well as the
curse of choice found within the profuse subtleties of music production.
Indeed, the latter more than likely hampered the journey taken by
'Tabernaculum' from start to finish, but it was one circuitous route
well worth the effort.<br />
<br />
'Tabernaculum'
is an overwhelming listen, impossible to truly absorb after first
exposure. A lot of its majesty gives thanks to its deft use of
atmosphere. Many black metal bands merely toy with the creation of dread
or malice, inserting languid ambient passages before, between and after
tracks that often equate to nothing but skipped filler. Through
delicate layering across a broad frequency spectrum, balanced against
some seemingly out of place and even upbeat guitar work, most of which
could be considered very unusual for black metal, the record retains a
portentous tactility throughout. Here lays the crushed global spirit...<br />
<br />
Though
first and foremost a black metal record, in the most rigid sense, it is
the album's more unorthodox elements that truly differentiate it from
anything else heard to date. There exists a sinewy warmth as melodies
just about merge, as a riff far too blithe for its own good is suddenly
accosted by an unexpected aggression and malevolence, akin to a fresh
oil slick embracing an all too perfect sandy shore as an ochre sun rises
- a devastating allure, realised.<br />
<br />
Indeed, this spirit runs
through 'Tabernaculum', its lyrics, its fantastically adroit
accompanying artwork - a heaving, exasperated earth shuffling on under
the weight of an ineffectual, fetid human kind, a comfortable
acknowledgement of the end, wherein lies a beautifully redemptive
quality. Very few, if any, black metal albums are as strikingly
evocative.<br />
<br />
Mention
of the use of traditional instrumentation in black metal may perturb
many, as thoughts of bodhrans and fiddles stumbling over bouncy riffing
are truly the province of nightmares, yet 'Tabernaculum' employs the
cello, mandolin and the sharp-sounding bouzouki, which backs up the
majority of lead lines across the record to magnificent effect, credit
again to that lavish yet astute layering.<br />
<br />
As
with many great releases, this, too, is best digested as one course,
though each track is in itself a compositional masterwork, epic in
scope, while also fervently and mercilessly introspective. Piece after
piece reaches its crescendo with seeming ease, despite the tension that
builds and builds, in a style that reminds of the always excellent Clint
Mansell.<br />
<br />
Buttressed
by compelling, apt artwork and layout (Alexander L. Brown, Alex Karpouski, Joe
Deegan, <span class="_5yl5"><span>Gunnhildur Edda Guðmundsdóttir,</span></span> Manuel Tinnemans), heavily metaphysical lyrical content and
garnering the support of the imperious, French label Norma Evangelium
Diaboli, as a black metal package, 'Tabernaculum' is quite perfect. It
confidently presents itself as a crowning achievement, not only for
Lockhart, but also for Studio Emissary and the future
of Irish/Icelandic black metal collaborations. An unnervingly inspired
work and thoroughly matchless on every level.<br />
<br />
Rating: 100% polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-56118885343980457912017-01-28T17:17:00.000+00:002017-01-28T17:17:26.573+00:00No Remorse<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/6/1/5/2/615237.jpg?3202" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/6/1/5/2/615237.jpg?3202" height="200" width="200" /></a></div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
Band: Death Worship</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
Release: 'Extermination Mass' EP (2016)</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
Musical
supergroups are often best avoided, especially within metal - the clash
of big-haired, perpetual adolescent egos and differing approaches to
their 'art' colliding in a result that is later found in bargain bins
and the also-ran columns of polished turd publications.</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
However,
due care would be sensible when attempting to lump Death Worship into
the above category. Indeed, while the pedigree of its participants is a
war metal wet dream, comprised of Blasphemy, Conqueror and Revenge
veterans, there's a tangible (and wholly intentional) air of
disdainfulness that wafts about the project, quick to shut down any faux
camaraderie and further dilutions of their 'die-hards only' aural
bedlam.</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
The
'Exterminaton Mass' EP received a limited edition release at the
Nuclear War Now! Fest Volume 5 in November 2016 to fairly solid critical
acclaim. Though some dissenting voices have considered the release par
for the course for all concerned and questioned its worth, it is
arguable that Death Worship, in a refinement of elements, presents an
approach and sound more bewitching and varied than its better known
forbears.</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
Of
course, comparisons to Conqueror and Revenge are thoroughly obvious, if
not even a tad lazy - but a band fronted by the likes of R. Förster and
J. Read was only ever going to produce one sound. In a recent
interview, Förster described Death Worship as his interpretation of the
natural progression of that which began with Conqueror, while Read has
done similarly with the unrelenting savagery that is Revenge.</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
All
ingredients considered, including a backing vocals appearance by
Nocturnal Grave Desecrator and Black Winds (of Blasphemy),
'Extermination Mass' does adhere quite closely to the
Conqueror/Revenge/Axis of Advance (and altogether Canadian) school of
black/death metal, with its militant, precision machine-gun percussion,
distorted diesel engine heaviness, inhuman vocalisations and the odd
unbridled guitar solo.</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
Don't expect a memorable riff or anything
that really sets one track apart from the others. Much like Revenge,
Death Worship primarily set out to create an atmosphere of unrelenting
attack and hatred, but something that this EP can boast is the welcome
presence of a few well placed, toe-tapping hooks, an element Förster
himself has commented is all too lacking in the output of many
contemporary acts pushing this particular style of metal and
unreservedly influenced by Blasphemy et al. </div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
Though
acts such as Tetragrammacide and Nyogthaeblisz have taken black/death
metal to its most extreme (yet still enjoyable) regions, generally
sounding closer to harsh noise with blast beats, Death Worship's
application of experience, classic structures and injections of an
unflinchingly heavy metal heritage does lend its out-turn a certain
something about which many similar bands remain clueless - with only the
likes of Revenge and New Zealand's Diocletian and Witchrist coming
close to emulating that Conqueror legacy.</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
Rating: 75% </div>
</div>
</div>
</div>
</div>
<div class="m_6677562535806770735gmail-m_-5629143431891214783gmail_msg">
<br /></div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-70066776200287583672016-11-01T18:46:00.001+00:002016-11-01T18:56:01.100+00:00Spiritual Entrails<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/5/9/8/8/598809.png?4615" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/5/9/8/8/598809.png?4615" height="200" width="133" /></a></div>
Band: Uškumgallu</div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
Release: 'Rotten Limbs in Dreams of Blood' (2016) </div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<br class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg" />
The
knowingly obscure Vrasubatlat collective has been polluting the air
with their particular strain of malady since 2015. While young, its
shared consciousness has borne twisted entities whose output, though
possessing a unique miasma, sits well next to some of the foremost (and
mostly Icelandic) black metal releases of recent times.</div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<br />
'Rotten
Limbs in Dreams of Blood' not only acts as a milestone for Vrasubatlat
(the tenth release via its collaborators) but presents the prolific
Uškumgallu as a fully-realised, commanding black metal outfit.<br />
<br />
Uškumgallu's
self-titled demo and its follow up endeavour, 'Mortifying the Flesh'
(both released 2015), were brilliantly rattly, primitive artifacts that
set Uškumgallu aside as a propitious act that wasn't fearful of wearing
its heritage on its sleeve.</div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<br class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg" /></div>
While
the more straightforward (albeit noteworthy) death metal of Triumvir
Foul easily caught the attention of fairly pedestrian listeners who may
have otherwise ignored the too-underground, twisted disseminations of
the Vrasubatlat coven, 'Rotten Limbs...' is one of the best
representations (alongside Dagger Lust's recent output) of the label's
depraved, melancholic and violent ethos to date.</div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<br />
Tension
and claustrophobia dominate this release. From its ominous intro, right
through to its prevalent speed and aptly repetitive riff structures,
the record is a veritable lesson in dynamics and the masterful use of
groove-peppered tempo variation. Despite the unrestrained, smothering
attack of much of 'Rotten Limbs...', the album is imbued with an
excellent sense of space that grants all instrumentation leave to wander
and breathe, allowing multiple possessed voices to assail the listener.</div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<br />
Much
of this full-length's potency lies in its adherence to the immediacy
and rough nature of Uškumgallu's demo works. Truly venomous and
disturbed vocalisations underpin the uncomfortably misshapen (even by
black metal standards) aural creation being blared, never for a moment
allowing even the slightest hint of production wizardry or
sterilisation, a common curse on full-length efforts, to take hold.</div>
<div class="m_2179635584086048283m_-1730689248635413440m_-6775784748058289855gmail-m_-6946793519588747619gmail_msg">
<br />
Though
some black metal has suffered a crisis of identity of late, battling
social justice crusades, genre dilution and release saturation,
Uškumgallu and other Vrasubatlat adepts continue to revel in the obscure,
and the skewed caverns of tortured minds, while aspiring, first and
foremost, to communicate via what are some of the leading black, death and
noise onslaughts in existence.</div>
<br />
Rating: 80%polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-22106676789061339372016-10-04T21:57:00.000+01:002016-10-04T21:57:14.601+01:00Endless Unrest<div>
<div>
<div>
<div>
<div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/5/9/7/6/597693.jpg?4519" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/5/9/7/6/597693.jpg?4519" height="200" width="200" /></a></div>
<div>
Band: Unyielding Love</div>
<div>
Release: 'The Sweat of Augury' EP (2016)</div>
<div>
<br />Threatening,
unruly and haunting are terms often thrown at the feet of extreme
noisemakers - and this persistent usage sometimes leaves such
descriptors jaded and stripped of potency. Similarly, tying descriptions
and genre labelling to Belfast's Unyielding Love, once they've been
truly <i>experienced</i>, seems not only difficult, but also
unjust and lazy, such is the enigmatic faculty they wield so
effortlessly.</div>
<div>
</div>
<div>
While comparisons to Dendritic Arbor
and Discordance Axis most definitely set the scene (and while these
bands have more 'going on' upstairs than simply their combined tumult),
Unyielding Love are gifted/cursed with the ability to present an all too
tangible, turbulent reaction to anxiety, illness and restlessness that
makes 'The Sweat of Augury' one of the finest releases of 2016.</div>
<div>
</div>
<div>
Much
like their literally blood-, sweat- and sparks-filled live expressions,
'The Sweat...' is a taught, unnerving, blackened grinding bellow of
striking viciousness that is wholly professional and refined beyond the
band's active years. Despite the harshness and direct aggression of
their marvellous racket - essentially grindcore with equal parts
hardcore and grating noise elements - Unyielding Love's final product is
less straightforward.</div>
<div>
</div>
<div>
With traces of black metal and the
murkier, discordant recesses of concurrent death metal atop their yield,
as well as the use of noise as an integral component in proceedings,
this EP could almost be the perfect sonic accompaniment to Full of
Hell's 2014 collaboration with Merzbow were it not for those traces of
uneasiness that has it stray closer to the bleak brilliance of Column
of Heaven.</div>
<div>
</div>
<div>
Indeed, this surely <i>is</i> an act that's
threatening, unruly and haunting - in the most real sense - but its
violence is pointed inward, directed at notions of the self and the
brutal truth of human frailty, especially when faced with the twin
grimaces of mental and physical illness. Yet none of this appears
superficial or contrived. The band's addressing of these topics is
fresh, real and utterly personal, and as much as their live contortions
are nothing short of spectacle, they are cathartic episodes for
themselves alone; the audiences just happen to bear witness.</div>
<div>
</div>
<div>
For
Unyielding Love, 'The Sweat...' is a distilled purging, if only for its
brief duration. The quartet exist now as a band very much of their time
with releases that have bottled contemporary discontent - something
never in short supply on the Emerald Isle. This lyrically strong, more
sombre (and interesting) aural treatment of human nature sidesteps the
adolescent, soapbox weltpolitik that often litters the (safe) spaces
occupied by grind and hardcore and thus works to catapult the band into
auspicious realms.</div>
<div>
</div>
<div>
Rating: 90%</div>
</div>
</div>
</div>
</div>
</div>
</div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-36700855381757138162016-10-03T22:17:00.001+01:002016-12-19T02:10:00.196+00:00Back to McKinley with the Freaks and Geeks<div class="storycontent">
<b>Originally written in 2009 as a retrospective review, of sorts, and destined for an old friend's cinema/TV blog (which never saw the light of day), I decided to dig up this piece on the inimitable <i>Freaks and Geeks</i> now that it's available on Netflix UK and Ireland.</b><br />
<br />
Cult status is hard won. Long-running television series such as <i>Friend</i>s and <i>Lost</i>,
while hugely popular, could never be referred to as 'cult TV shows'.<br />
<br />
Paradoxically, this could be due to their very success and familiarity. Yet, while there isn’t a TV viewer over the age of 18 who wouldn’t know the lucrative <i>X-Files</i> TV series, it relishes in cult status, even while remaining very well-known, as well having spawned two best forgotten movies.
<br />
<br />
As such, it seems that cult status is something earned; cult shows
deliver something more, are never comfortable with cheap laughs or
hastily-drafted storylines and often tap into seldom heard social wants.<br />
<br />
Cult TV is a veritable labour of love and is adored in return.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://i.ytimg.com/vi/2WRaiBjSZ2k/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="310" src="https://i.ytimg.com/vi/2WRaiBjSZ2k/maxresdefault.jpg" width="400" /></a></div>
<br />
Though later appearing in Time magazine's 2007 '100 Greatest Shows of All Time' list, <i>Freaks and Geeks</i> originally suffered a quick cancellation and a mere 12 of 18 episodes aired while on NBC during the 1999/2000 season.<br />
<br />
Prompted by a fan-led campaign, NBC broadcast three more episodes in
July 2000; the last three would not be seen until September of that
year, when the cable network Fox Family Channel aired them in
syndication. The complete series was later released on DVD and promptly
snapped up by the show's multitudinous fan base.<br />
<br />
Countless online references and emphatic declarations of adulation later, <i>Freaks and Geeks</i>
continues to enthral its still mourning supporters, while finding new
converts thanks to the brilliance of the internet. To know it is to love
it.<br />
<br />
Created by Paul Feig (nominated for two Emmy Awards for writing the
show's first and final episodes) and produced by the now ubiquitous Judd
Apatow, the short-lived 'period teen dramedy' followed two unique
groups of teenagers dealing with life in high school during the 80s.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://jojud265nia2bj9sy4ah9b61.wpengine.netdna-cdn.com/wp-content/uploads/2015/07/freaksgeeks1-1600x900-c-default.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://jojud265nia2bj9sy4ah9b61.wpengine.netdna-cdn.com/wp-content/uploads/2015/07/freaksgeeks1-1600x900-c-default.jpg" height="225" width="400" /></a></div>
<br />
Enthralling and humorous was the show's thoroughly informed depiction of
high school years as experienced by the outsider strata of the
education system. Indeed the show’s tagline rang all too true: "It's
1980 and this is what high school was like for the rest of us."<br />
<br />
While still indulging in the attractive 'jock and cheerleader' world on
occasion, it was used to highlight but another element of the system
that the show's protagonists questioned. Yet, this questioning was not
just an added facet of knee-jerk, alternative student politics, but an
introspective interrogation of moral and social values.<br />
<br />
The show concentrated on siblings Lindsay and Sam Weir, and their
two highly different, yet similarly ostracised, groups of friends who
comprised 'the freaks' and 'the geeks' respectively. Both attending
William McKinley High School during the 1980-1981 school year in the
town of Chippewa, Michigan, a fictional suburb of Detroit, we witness
their struggles with acceptance, drugs, drinking and bullying, peppered
with just enough razor-sharp comedy to save it from deteriorating into a
preachy daytime talk show.<br />
<br />
Lindsay (Linda Cardellini) and Sam's (John Francis Daley) groups of
friends were populated by actors who have gone on to become household
names, appearing in popular films such as <i>Superbad</i>, <i>Forgetting Sarah Marshall</i>, <i>Pineapple Express</i> and the <i>Spiderman</i> movies.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://flickeringmyth.wpengine.com/wp-content/uploads/2016/03/detail_freaksgeeks1-600x380.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://flickeringmyth.wpengine.com/wp-content/uploads/2016/03/detail_freaksgeeks1-600x380.jpg" height="252" width="400" /></a></div>
<br />
The 'freaks' were comprised of Daniel Desario (James Franco), Ken
Miller (Seth Rogen), Nick Andopolis (Jason Segel) and Kim Kelly (Busy
Philipps).<br />
<br />
Franco, Rogen and Segel have appeared regularly in recent works by Judd Apatow (the show's producer), such as <i>Funny People</i> and <i>Knocked Up</i>. Clearly, Apatow's work owes a lot to the <i>Freaks and Geeks</i> formula and its particular presentation of comedy and character.<br />
<br />
The 'geeks' saw Sam joined by Neal Schweiber (Samm Levine) and Bill
Haverchuck (Martin Starr), and on occasion, the rotund and instantly
likeable, Gordon Crisp (Jerry Messing) and geek guru, Harris Trinsky
(Stephen Lea Sheppard). Recently, Starr was excellent as Joel in
coming-of-age comedy drama, <i>Adventureland</i>.<br />
<br />
Though bolstered by proficient writers and an obviously strong cast,
the show's focus and lasting strongpoint was Lindsay, an endlessly
attractive and enigmatic mix of intelligence, daring and tomboy good
looks. Seen later in <i>ER</i> and the <i>Scooby-Doo</i> live action
movies, Cardellini is most fondly remembered as green army
jacket-wearing Lindsay Weir and has immortalised both herself and the
show as a result. Indeed, it is safe to say that every male fan of the
show has been searching for his own Lindsay Weir since first spying that
smile in the opening credits.<br />
<br />
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<br />
Deeply upset by the death of her grandmother, Lindsay is plunged into
a realm of reassessment. Once the school's prized champion 'mathlete',
complete with college and career aspirations, Lindsay now wanders from
class to class in McKinley until she encounters and is adopted by the 'freaks', much to the discontent of her parents, Harold and Jean (played
flawlessly by Joe Flaherty and Becky Ann Baker), and the bemusement of
nerdy and religious former best friend, the well-meaning Millie Kentner
(Sarah Hagan).<br />
<br />
Even though Lindsay's time with the misunderstood 'freaks' introduces
her to their world of skipping class, rock 'n' roll and
experimentation, it leads her to unique, moving moments of realisation
and ultimately, the pursuit of her own happiness and dreams.<br />
<br />
The show's genius and poignancy was buttressed by a varied and
brilliant period soundtrack and is another element that has ensured its enduring appeal. Most memorable is the show's opening sequence
set to the rousing "Bad Reputation" by Joan Jett and the Blackhearts.<br />
<br />
Songs by Van Halen, Deep Purple, Santana, KISS, Rush, Cream, Madness,
Alice Cooper, Journey, The Moody Blues, Queen, The Who, Lynyrd Skynyrd,
Black Flag, David Bowie and Grateful Dead followed the 'freaks' and 'geeks' through victories and mishaps during the series.<br />
<br />
Purchasing the rights to use these songs required much of the show's
budget and became an obstacle in releasing the show on DVD. Thanks to
Shout! Factory, a music and video company specialising in comprehensive
reissues and compilations of classic and sometimes obscure pop culture, <i>Freaks and Geeks</i> was successfully brought to DVD with all of its music thankfully intact.<br />
<br />
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<br />
Profoundly human, tender and astute, <i>Freaks and Geeks</i> still
stands head and shoulders above the majority of today's languid and
quick-hit TV offerings. It's not surprising that its creator has since
directed episodes of some of the most worthwhile contemporary TV shows,
such as <i>Arrested Development</i>, <i>Weeds</i>, <i>30 Rock</i>, <i>Parks and Recreation</i> and <i>Mad Men</i>.<br />
<br />
Inimitable, emotive and unforgettable, an internal void yawns once
that final episode draws to a close and Grateful Dead’s "Ripple" lulls
you into an immediate nostalgia even before the credits cease rolling. Watch it all again. You know you want to. They don't make them like this anymore.
</div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-76275533664665470462016-06-11T17:19:00.000+01:002016-06-11T17:31:46.882+01:00Poisonous Bliss<div class="separator" style="clear: both; text-align: center;">
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Band: Qrixkuor<br />
Release: 'Three Devils Dance' EP (2016)<br />
<br />
Unshackled on witches' night, Walpurgisnacht, amid the clangour of Dublin's Unconquered Darkness festival, 'Three Devils Dance' is a cogent, unnerving offering of contemporary death metal.<br />
<br />
An astute production allows Qrixkuor's now trademark, suffocating <i>wave of sound</i> bearing some breathing space, unveiling and allowing baffling riff structures and utterly accomplished drum work to waft through echoing atmospheres.<br />
<br />
Channeling the attack of Teitanblood and the more introspective and aberrant countenance of the likes of Irkallian Oracle, the band's own sound and presence appears fully realised on this EP. In the midst of brooding, slowed eeriness, Portal-esque moments of black/death inversion give way to almost indecipherable war metal-like ferocity.<br />
<br />
Never fully apparent in their live appearances, varying tempos are well utilised, avoiding boredom and repetition, but with this, Qrixkuor, on occasion, fall on their own double-edged sword, abandoning riffs and excellent song sections that could have lingered a little longer without causing any offence. An almost unfathomable amount of deft musicianship happens track to track, giving each song a veritable sense of a journey to the most profound depths.<br />
<br />
In an arena now soaked with shrouded, reverb-drenched acts, bands must toil ceaselessly to lift their presence above the bubbling mire, despite the enjoyment the swamp and its denizens can provide. With this EP, Qrixkuor have truly bared themselves as a tightly-knit, focused act; those marvellously obstreperous guitar solos are granted leave to cut through multiple layers of distortion without losing the inherent intoxication of its tumult.<br />
<br />
Wrapped in striking, evocative artwork and defaced with a mad monk's scrawl, the EP's aesthetics, crucially, buttress the labyrinthine, mystical fibre of its excellent content. The release's opener, "Serpent's Mirror", is the real standout track here, showcasing the band's best elements at work.<br />
<br />
'Three Devils Dance' carries with it a real sense of the <i>opus</i>, a culmination of years of work, focus and refinement. It is a thoroughly talented outing, to the extent that the listener may wish its morphing, snarling content was a tad more elementary at times, but with multiple absorptions, its genius becomes more and more striking.<br />
<br />
Rating: 80%polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-46815037523741070682016-05-29T19:05:00.000+01:002016-06-11T17:42:47.479+01:00The Ebony Grave<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; font-family: inherit;">Band: Coscradh </span><br />
<span style="font-weight: normal;"><span style="font-family: inherit;">Release: 'Coscradh' demo (2016) - Digital</span></span><span style="font-weight: normal;"><span style="font-family: inherit;"><br /></span></span><br />
<span style="font-weight: normal;"><span style="font-family: inherit;">As some lament the ageing demographic of Ireland's underground and its <i>old guard</i> hold aloft a seemingly unwanted mantel to virtually non-existent young blood, Coscradh let loose one of the most anticipated domestic releases of recent years.</span></span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">Despite worries surrounding inheritance and longevity, Irish underground music is in one of its best states. Coscradh are one of a handful of acts, a mixture of active and still brewing entities, that are set to push more and more heavy music to audiences at home and abroad.</span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">Interestingly, given the size of Ireland and its quite tightly knit underground, Coscradh are yet another band that have developed a sound all their own. In itself, this is testament to the very real passion that drives Ireland's most noteworthy metal acts, a bracket Coscradh look set to squeeze into over the next while.</span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">Supported by veteran label Invictus Productions, the band's self-titled demo is a surprising listen. Coscradh's earliest mention of activity was accompanied by the ubiquitous influence list, which, understandably, got many proponents of the nastier end of black/death metal suitably excited. Ireland has been bereft of such filth for some time, especially after the unfortunate disappearance of the now legendary Lethiferous.</span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">While impassioned, live appearances to date have failed to demonstrate well just what Coscradh are conjuring with their output. The demo's adept mixing and mastering utilises a robust presentation that strips back all the interferences that can be encountered live, allowing the racket breathing space and revealing a definitely unexpected groove to proceedings.</span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">Though early rumours of the band's progress and approach talked of a Teitanblood-esque, heads-down din, listeners are instead treated to tracks that speak of Sepultura's death/thrash era, complete with discernible, if standard, riffing and well-timed tempo variations. </span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">A true standout feature across the demo's proclamations are fantastically possessed, throat shredding, reverb-drenched vocals that aid in retaining the quartet's more murky intentions, which are best heard when the band slows down; there's a veritable Isengard essence audible in the demo's second track "Lynch".</span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">Amid pounding percussion, which jumps between mid-tempo rollicking and machine-gun blasting with ease, fittingly wailing solos cut through portions of the demo's more compelling, layered sections, as the guitars wind about one another and an excellently prominent bass holds sway over affairs. </span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">What quickly becomes very clear is that Coscradh are toying with some enthralling notions from track to track, and while many of these find room to breathe at points, they are regretfully cut short in favour of a return to the style the band are, more than likely, most comfortable with currently.</span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">As a statement of intent, this debut is suitably loud and assuredly tantalising in its revealing of a young band tuned into black/death metal's nuances and inherent madness, all mixed with grimy doom elements. A future concentration on these aspects could see something truly monstrous manifest and nestle nicely among the likes of compatriots Zom and Malthusian. </span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">Added to this, it is refreshing to see an Irish band take on the darker aspects of Irish history and folklore by sidestepping gift store Celtic-ness in favour of the threefold death and the violence of bog burials.</span><span style="font-weight: normal;"><br /></span><br />
<span style="font-weight: normal;">Rating: 70%</span>polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-6866398785512681832016-05-11T13:05:00.003+01:002016-05-11T13:05:31.227+01:00Report: Unconquered Darkness; Dublin - 29/04 - 01/05/2016<div>
The Irish are well used to looking overseas, casting eyes toward
far off coastlines, be it in search of adventure or simply a living.
Similarly, seekers of musical stimulation have long drooled over the
lineups gifted to our continental cousins and stateside miscreants.
Emulating the Wild Geese, many Irish have left on campaigns of catching
must-see acts, splashing the cash to hit some of the most obscure
festivals worldwide that boast better and better lineups year on year.</div>
<div>
<br /></div>
<div>
As
such, the earliest whispers of hands at work at what would eventually
become Unconquered Darkness sent ripples through those with their ears
to the ground in terms of contemporary death metal. It was obvious from
the outset that veteran Irish label Invictus Productions working
alongside the endlessly impressive Dark Descent Records could only
produce good things - and as was to be seen, it was a collaboration that
certainly delivered.</div>
<div>
</div>
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<div>
</div>
<div>
Unable to catch Friday's burnt offerings to the void, the weekend's fruits were lined up for consumption. All in moderation, of course. </div>
<div>
<br /></div>
<div>
Saturday's
second act, Sweden's Head of the Demon worked well as an intro to the
more intense acts that followed in their wake, employing repetitive,
hypnotic mid-tempo grooves that told of a definite, bass-heavy Mercyful
Fate heritage with just enough dissonance to push it into more
contemporary, occult rock-focused arenas.<br /><div>
<div>
<br /></div>
<div>
Almost
the exact antithesis, Qrixkuor, a consistently spell-binding and
improving live act, unleashed wave after wave of labyrinthine,
atmosphere-soaked, blasting death metal. Their cacophony is endless,
working its way around the Voodoo Lounge's long lamented pillars and
generally disappointing acoustics, but the delivery allows it all seem
fitting. It's meant to be filthy. The band utilised the significance of
April 30th as Walpurgisnacht to release their most recent EP, 'Three
Devils Dance', via Invictus Productions.</div>
<div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.invictusproductions.net/wp/wp-content/uploads/2016/03/quickrick1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.invictusproductions.net/wp/wp-content/uploads/2016/03/quickrick1.jpg" height="320" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Qrixkuor - 'Three Devils Dance' EP</td></tr>
</tbody></table>
<div>
</div>
<div>
The
ultimate wind down, of sorts, Qrixkuor's follow up (in the uninspiring
guise of Anguish) plodded through a set of tedious doom metal that sent
most shuffling to the bar for top ups and into the smoking area for
better conversation. It somehow failed to fit and while doom metal's
general vibe is often one of dejection, a fairly lacklustre stage
presence and presentation did the band no favours.</div>
<div>
<br /></div>
<div>
Local
favourites Zom blew any cobwebs that had formed well away with their
trademark punk attitude-infused black/death metal racket, easily showing
some of the more established acts how it's done. Passionate,
uncompromising, and most importantly: enjoyable. Yet another act that
seem to improve every time they take to a stage, and rumour had it the
band hadn't rehearsed in some time. Some bands simply have that magic.</div>
<div>
<br /></div>
<div>
Alongside
Zom, Belgium's Possession helped to further set the tone for the
potency that was primed to be unleashed across the final few acts of
Saturday night. Though only catching their last couple offerings, a mix
of wild guitar work, intense percussion and howling vocals, the venue
was shook and a mixture of nods and beaming faces, once instruments were
downed, told of a sold crowd, pumped for what the remainder of the
evening would deliver.</div>
<div>
<br /></div>
<div>
Adversarial's brand of
wide-shouldered, aggressive US death metal had most rooted to their spot
for the length of their performance. Razor-sharp, jarring riff work, a
commanding frontman and an incredibly unrelenting stint from their
drummer impressed all no end.</div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.cvltnation.com/wp-content/uploads/2015/07/PromoImage7-1440x564_c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.cvltnation.com/wp-content/uploads/2015/07/PromoImage7-1440x564_c.jpg" height="248" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adversarial</td></tr>
</tbody></table>
</div>
<div>
</div>
<div>
A definite
highlight of the weekend, Lvcifyre were the perfect accompaniment to
label mates Adversarial's barrage, though sounded more technical and
textured, even amid the now constant discordant hum that reverberated
around the venue. This lent the band an emphatic and memorable presence
as they hammered through twisting track after twisting track. As with
most worthwhile situations, it was all over far too quickly.</div>
<div>
<br /></div>
<div>
Closing
the evening on a high, veteran act Morpheus Descends pushed through the
lingering din left by the previous two bands with crisp, punctuated,
classic death metal that was both atmospheric and brought with it
welcome tempo variations. A lively, tight set, devoid of some of the
more debatable 'hoods up, wall of sound' trappings of contemporary death
metal, there was a definite sense of "this is how it is done".</div>
<div>
<br /></div>
<div>
Sunday's
zealots, nursing hangovers or simply continuing their Saturday nights,
rolled into the venue on time for one of the fest's biggest and most
entertaining draws. Slovakia's Malokarpatan set chins wagging last year
(and well into 2016) with their debut full-length offering, a quirky
mixture of Slovakian folklore, primal black metal and a 'worn on the
sleeve' heavy metal heritage. They rolled into their set with gusto
while bathed in red light and easily awakened the venue.</div>
<div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://f4.bcbits.com/img/0005282337_10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://f4.bcbits.com/img/0005282337_10.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Malokarpatan</td></tr>
</tbody></table>
<div>
</div>
<div>
Their
frontman, Temnohor, enthralled the majority. Despite toe-tapping song
after toe-tapping song, he remained quite static throughout the set.
Clutching a tinned beverage and expressionless behind aviator
sunglasses, he did nothing but emit wails, croaks and snarls, as well as
utterances in his native tongue between some numbers. However, it
worked perfectly, adding to their generally quirky nature and 'band from
another time' bearing, playing on against the wishes of the sound man
and then ending abruptly to return to wherever they'd stashed their time
machine. A brilliantly bizarre set.</div>
<div>
<br /></div>
<div>
The great
interaction between attendees that the fest effortlessly fostered
continued on the Sunday afternoon. With the hum of distortion as
ambience, the staccato of multiple accents, guffaws and the recognisable
click of cigarette lighters formed the true soundtrack of the
Unconquered Darkness weekend. With the risk of drifting into saccharine,
United Colors of Benetton nonsense, it was the concept of music as a
'universal language' in action, even if us Irish were thin on the
ground. To have devotees of underground music travel to Ireland from far
and wide, inspired by such a lineup, is excellent in itself.</div>
<div>
<br /></div>
<div>
Drawing
us toward the evening and Sunday's headlining acts, Antiversum launched
into an unapologetic black/death metal maelstrom, creating that total
vacuum heard on 2015's noteworthy EP. Sounding close to Antaeus at
times, the band was probably the most black metal of the fest, at least
in contemporary terms; detached yet devoted, and thoroughly impressive.</div>
<div>
<br /></div>
<div>
Scotland's
Ellorsith stepped up with ease next. An intriguing act, their naturally
frosty, insistent black metal sounding somewhat more polished than what
Antiversum had just offered, these two acts did feel like the resident
black metal delegates, but obviously no one was complaining. Yet another
impressive performance and another step toward a building intensity.</div>
<div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://img2-ak.lst.fm/i/u/avatar300s/e4fed67af79d463cc62b116a8a7ea8e0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://img2-ak.lst.fm/i/u/avatar300s/e4fed67af79d463cc62b116a8a7ea8e0.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ellorsith - '1959' EP</td></tr>
</tbody></table>
<div>
</div>
<div>
Sepulchral
death metal masters She'ol added to Sunday's wall of sound with a
stirring set of mouldy, well-paced total death worship, each member
wholly comfortable behind their instruments and focused on the creation
of some of the finest death metal emanating from UK soil of late.</div>
<div>
<br /></div>
<div>
Yet
another draw, Finland's Lantern were quickly acknowledged as a
veritable highlight by the majority in attendance. A set full of pulsing
energy and pensive presence, Lantern's output was visceral yet suitably
dusty and capacious, riffs twisting here, there and everywhere.
Seriously good and very memorable. 2013's 'Below' is highly recommended</div>
<div>
<br /></div>
<div>
More
Finnish genius rattled bones in the form of Krypts. An intense, zero
blather affair that brought with it a truly tangible heaviness and
hanging, oppressive atmosphere; tempos chopped and changed without once
losing the band's inherently unhinged quality. A possessed performance.</div>
<div>
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.metal-archives.com/images/3/5/4/0/3540282830_photo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.metal-archives.com/images/3/5/4/0/3540282830_photo.jpg" height="223" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Krypts</td></tr>
</tbody></table>
<div>
</div>
<div>
Sunday's
final act wrapped up proceedings in the most suitable fashion with a
tribute of utterly blistering death metal. Closing the unholy Finnish
triangle, Corpsessed, though last on stage for the whole fest, delivered
unreal, seemingly insatiable energy as they pummeled through song
after song. The vocal performance must be pinpointed here, being
incredibly audible and pronounced amid the clashing instrumentation on
display. A powerful end to a powerful, landmark weekend.</div>
<div>
<br /></div>
<div>
Speaking
to Darragh (of Invictus Productions) at various points over the course
of the fest, conversation invariably turned to attendance. "Where are
all the Irish?" The hordes that emerged for the likes of Diocletian and
Witchrist in 2010 were nowhere to be seen. Surely Unconquered Darkness
would attract similar clientele? "Maybe this kind of thing simply isn't
cool to people currently?" </div>
<div>
<br /></div>
<div>
Obviously, the
hanging question here is, was it ever? Many of these acts are as niche
as it comes, these gigs draw all the same faces, the usual underground
stalwarts, plus competing with more mainstream events in Dublin over the
May bank holiday weekend is no easy feat.</div>
</div>
</div>
<div>
<br /></div>
<div>
Despite
debates surrounding turnout and the various reasons why such a fest
boasting such a lineup didn't pack out the Voodoo Lounge (a pretty small
venue, in truth), consensus speaks of a successful, satisfying event,
and one thoroughly appreciated by those that did show up, be they local
or otherwise. Kudos to Darragh and Matt (of Dark Descent Records) for
organising and pushing through Unconquered Darkness right to the bitter
end and many thanks to all the bands, helpers, participants, Voodoo
Lounge management/staff and attendees for making it what it was. Here's
to the next instalment.</div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-86061552370879647692015-12-15T20:02:00.000+00:002015-12-15T20:02:21.754+00:00The Best of 2015My first ever <b>End of Year</b> list, in no particular order, and not
restricted to full-length releases. Most demos and EPs are usually more
interesting, anyway. <br /><br />There are a few recent releases on the ever-growing, unwieldy <b>to-listen</b> pile that could most probably be added to this, but the year draws to a close...<br /><br />Ambevilence - 'Ambevilence' EP<br /> Tetragrammacide - 'Typhonian Wormholes...' EP<br /> Serum Dreg - 'Impure Blood' demo<span><br /> Genocide Shrines - 'Manipura Imperial Deathevokovil...'<br /> Malthusian - 'Below the Hengiform' EP<br /> Devouring Star - 'Through Lung and Heart'<br /> Misþyrming - 'Söngvar elds og óreiðu'<br /> Spectral Voice - 'Necrotic Doom' demo<br /> Revenge - 'Behold.Total.Rejection'<br /> Pneuma Hagion - 'Trinity I' demo<br /> VI - 'De Praestigiis Angelorum'<br /> Vorum - 'Current Mouth' EP<br /> Shroud of The Heretic - 'Unorthodox Equilibrium'<br /> Adversarial - 'Death, Endless Nothing and the Black Knife of Nihilism'<br /> Sheidim - 'Amidst the Ashes of Consciousness / In the Light of the Dying Stars' EP<br /> Mortuus Umbra - 'Cathecism'<br /> Slidhr - 'Spit of the Apostate' EP<br /> Grief Feeder - 'Plague Architect'<br /> Unyielding Love - 'Demo 2015'<br /> Mgła - 'Excersizes in Futility'<br /> Dendritic Arbor - 'Romantic Love'<br /> Cruciamentum - 'Charnel Passages'</span>polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-73786206678641280562015-11-25T20:03:00.001+00:002015-11-25T20:10:39.605+00:00Acosmic Engineering<a href="http://www.metal-archives.com/images/5/2/6/0/526002.jpg?0654" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/5/2/6/0/526002.jpg?0654" height="198" width="200" /></a>Band: Tetragrammacide<br />
Release: 'Typhonian Wormholes: Indecipherable Anti-Structural Formulæ' EP (2015)<br />
<div style="white-space: pre-wrap;">
No amount of metaphors and high-brow allusions to the horrors of warfare can truly do this EP justice. A release of blistering, colliding, vociferous exclamations, it seems laughable that the likes of Metallica would be used as sleep-depriving aural torture when cacophony such as this exists.</div>
<div style="white-space: pre-wrap;">
Scattering musicality to the wind, India's Tetragrammacide channel the obstreperous nature of early Nyogthaeblisz and Goatpenis in concocting their particularly harsh strain of black/death metal. Incessantly barbaric in nature, 'Typhonian Wormholes...' will challenge even the most hardened extreme metal devotees, as well as shaking up more established and influential acts, such as Revenge, in terms of utter savagery.</div>
<div style="white-space: pre-wrap;">
To many, this will present nothing but a ridiculous tumult, a lack of skill buried beneath ultra distortion and elementary, grating noise. Overall, the EP is an acquired taste, perhaps, but the songs and riffs that do seep through the endless buzz saw din and crashing of cymbals are wholly effective, oddly catchy and void of any embellishment. In this is heard a rewarding mash up of Damaar, Genocide Shrines, Conqueror, and of course, Revenge - all of which, despite the jaded nature of such comparisons, creates a sound that is arguably the very definition of 'war metal'.</div>
<div style="white-space: pre-wrap;">
For black/death/war metal territory, apparently saturated with carbon copies, bullet belt-laden posturing, dusty gas masks and recycled chord progressions, it takes a release such as this to blow away all cobwebs. Refreshingly, the deranged duo that form Tetragrammacide are taking no prisoners and are testament to the fervent nature of their country's scene. While they may utilise many of the trappings common to their musical brethren, when juxtaposed next to audio terror as callous as 'Typhonian Wormholes...', the brandished machetes and obscured identities regain some of their unnerving essence.</div>
<div style="white-space: pre-wrap;">
Though relentless and unapologetic, Tetragrammacide's brash variety of 'martial occult black metal' is also both insisting and enthralling; the EP is a surprising and penetrative release, something almost otherworldly in its tangible enmity. In short, this is total musical vehemence distilled into just over twenty minutes and a release new and old addicts alike will return to again and again.</div>
<div style="white-space: pre-wrap;">
Rating: 85%</div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-2702569130772734232015-11-17T22:36:00.001+00:002015-11-17T22:58:06.911+00:00Crimson Footprints<a href="http://www.metal-archives.com/images/4/8/5/4/485483.jpg?2801" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/4/8/5/4/485483.jpg?2801" height="200" width="200" /></a>Band: Plagues<br />
Release: 'Death March' demo (2015) - Digital<br />
<br />
The
internet age has brought with it many a double-edged sword. Musically,
it has allowed people with even the most rudimentary access to reveal
their wares to the world. As some find success, others get lost amid the
din of ever harsh online criticism, and often for good reason.<br />
<br />
As
a somewhat utilitarian genre, black metal was a ripe target due its
early veneration of sub par equipment and steadfastly cut and dry
methods. This has given rise to some of the most mediocre offerings
black metal adherents have yet been exposed to; eye-catching cover art
frequently belies mundane attempts to ape the genre's best and
brightest.<br />
<br />
A welcome disparity, Massachusetts three-piece Plagues sidestep the
tiresome white noise of the internet's faux-underground denizens,
presenting a treatment of black metal firmly rooted in the discipline of
the second wave; mid-tempo blasted sections collide aptly with black
'n' roll, punk-ish movements while slower passages hint at layered,
clever melodies.<br />
<br />
Plagues' more dirge-laden elements turn out to
be the most interesting, demonstrating a veritable talent for melodious
subtleties which craft almost perciptible atmospheric veils. At other
points, there exists a sense of the epic, as fist-pumping song fragments
nod toward legendary Immortal's singular talent for transportation to
fantasy-soaked black metal vistas.<br />
<br />
However, this three-piece
continously steer toward more bleak realms; the cover art for the demo
emanating a foreboding aura reminiscent of that used for Krieg's classic
album 'The Black House'. Song titles such as "Crush the Messiah",
"Abyss" and the titular presentation make plain Plagues' thematic approach
and overall disposition as a band.<br />
<br />
There is plenty here (and
across their other demos) to cause a few feet to tap, as well as
inspiring downloads. Plagues surely know what they are doing, but added
stylistic focus and more time spent wading in ethereal waters could see
something akin to Mgła emerge over time, catapulting them from Bandcamp
obscurity and onto the radars of people who know that USBM means more
than Liturgy and Deafheaven.<br />
<br />
Rating: 60%<b><br /></b>polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-63119897558223879602015-10-28T21:06:00.000+00:002015-10-28T21:06:18.609+00:00Solace in Emaciation<a href="http://www.metal-archives.com/images/5/1/7/7/517743.jpg?5402" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/5/1/7/7/517743.jpg?5402" height="200" width="130" /></a>Band: Uškumgallu<br />
Release: 'Uškumgallu' demo (2015)<br /><br />
<div>
The
primitive black metal formula seems simple, yet many contemporary bands
are either dismissed as mere clones of the genre's progenitors, as
pretenders to an ancient throne, or criticised for
too-obviously-intentional rawness and heavy handed lo-fi worship.</div>
<div>
</div>
<div>
Conversely,
there exists acts such as Uškumgallu. This Oregan-based two-piece have
obviously studied diligently, producing nostalgia-soaked black metal
with an undeniably chilling quality that is mercifully void of any
trappings that would see proceedings descend into parody.</div>
<div>
</div>
<div>
Uškumgallu's
first self-titled offering, released via shadowy black/death/noise
conspirators, Vrasubatlat, is a three-track, thoroughly impetuous
declaration of singular design.</div>
<div>
</div>
<div>
Opening with a
mid-tempo, rollicking section, which repeats in-between more aggressive
(and more effective) blasted moments, Uškumgallu employ the best of
black metal's ability to be both pugnacious and hauntingly memorable,
sounding similar to Clandestine Blaze at times.</div>
<div>
</div>
<div>
The
demo's incursion truly amps from the second track, "Dolor", while an
impressive and near impeccable vocal delivery adds an almost tangible
eeriness, oozing atmosphere and creating an audible despair and anguish.
The band's repetitious but potent riff structures are endlessly apt,
shot through with hypnotic and melancholic qualities that speak of a
definite harmonious know-how.</div>
<div>
</div>
<div>
Presented
as the release's final offering, "Solace in Emaciation" is a dirge
driven, weighty slab of black metal, dripping with a molasses-like
phonic venom. Uškumgallu's self-titled proposal nestles comfortably next
to the other disseminations from the Vrasubatlat coven to date, and
though some acts are sharing members, there is a veritable sense of
distinctive identities and accompanying auras, all of which works to
promise some truly shattering black and death metal in the near future.</div>
<div>
</div>
<div>
Rating: 75% </div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-33743823927001067292015-10-08T20:27:00.001+01:002015-10-08T20:38:14.559+01:00A Wretched Prayer<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/5/1/7/7/517747.jpg?1728" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/5/1/7/7/517747.jpg?1728" height="200" width="130" /></a></div>
Band: Serum Dreg<br />
Release: 'Impure Blood' demo (2015)<br />
<br />
It is difficult to understand those who put forward lamentations concerning the state of black and death metal. As genres (and movements, more importantly) their most indubitable recesses are perpetually bubbling, a cauldron nought but foul and always overflowing, spilling here and there splashes of vile concoction.<br />
<br />
Serum Dreg's 2015 demo, 'Impure Blood', is the second release granted agonising life by Vrasubatlat, a purposeful conspiracy of like minds, communicating ancient visions of primal irreverence via black metal, death metal and noise releases.<br />
<br />
This bold four-track demo recalls the genres' most seminal releases, those that emerged at a time when the jagged line between black and death metal was far more blurred and both genres promoted and followed a single-minded focus. As a side project of Ash Borer members, who also fill roles in other Vrasubatlat-backed acts, Uškumgallu and Triumvir Foul, 'Impure Blood' is an erudite treatment of black/death metal as a vessel of extolment.<br />
<br />
Akin to a recently discovered, dust-caked mix tape from the early 90s, Serum Dreg channel the energy of early Darkthrone, granting listeners an insight into what may have occupied that gap between 'Soulside Journey' and 'A Blaze in the Northern Sky'. Certain riffs and song structures possess a definite Darkthrone-esque gallop that's interwoven with acknowledgements of contemporary acts like Clandestine Blaze, as well as moments of a black 'n' roll sensibility. More thrashy elements even allow the odd nod to early Slayer.<br />
<br />
The demo's faster (and most recommended) passages are bass-heavy, confessing similarities to frenzied black/death juggernauts Teitanblood, though Serum Dreg are less obstinately leaden and claustrophobic. A knowledgeable use of tempo variation and song length keeps proceedings fresh while the utterly apt vocal performance furnishes echoed howls and bellows of anguish and anger that float menacingly above the sepulchral orchestra at work.<br />
<br />
Giving the overall impression of a recorded rehearsal session, 'Impure Blood' is an offering of immediate and unnervingly impassioned black/death metal, free of embellishment and nonsense. As a statement of intent from both Serum Dreg and Vrasubatlat, it is explicit, staunch and a reminder of black and death metal's shared, inherent otherworldly endowments.<br />
<br />
Rating: 80% polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-32392282455660936242015-09-13T20:00:00.001+01:002015-09-13T20:14:57.375+01:00Through the Corpse Maze<a href="http://www.metal-archives.com/images/5/0/0/5/500575.jpg?5717" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/5/0/0/5/500575.jpg?5717" height="200" width="200" /></a>Band: Abominor<br />
Release: 'Opus: Decay' EP (2015) <br />
<br />
Thoroughly
en vogue of late, the most attuned devotees find it difficult not to
gravitate toward anything labelled 'Icelandic black metal'. However, it
isn't without good reason, as the well-knit scene spits out impressive
release after impressive release at a seemingly unstoppable rate.<br />
<br />
Confidently demonstrating their take on the Icelandic sound, Abominor
are bass-heavy, textured and an almost tangible, swirling sonic mire.
Possessing more of a black/death bearing than many of their compatriots,
replete with blasted, dissonant sections, it is when affairs slow down,
even slightly, that things get truly interesting.<br />
<br />
<div>
Though
it may be sacrilegious to even suggest, the band drift into post-black
metal territory on occasion by offering inventive yet subtle melodies
neatly woven into the slow- to mid-tempo portions of their work.
Mercifully, tortured vocals and a return to Deathspell Omega-style slided riffing ensure Abominor steer clear of saccharine sweet, flannel shirt environs before their efforts are indelibly sullied.<br />
<br />
Now
synonymous with the aforementioned Icelandic sound, 'Opus: Decay' was
recorded, mixed and mastered at Studio Emissary, the Icelandic studio
curated by an Irish man who has had input into some the genre's best
output in recent years. A veritable midas touch has lent weight and
credibility to releases from Dysangelium, Sinmara and Svartidauði;
further involvement with both Icelandic acts and some from further
afield is sure to give life to yet more future classics.<br />
<br />
To
solidify an emerging Irish/Icelandic union even more, the EP was
handled by veteran Irish underground label Invictus Productions, which
sees Abominor rub shoulders with other noteworthy emerging acts such as
Akatechism, Antiversum and Malthusian, nestling them among yet more of
the heavier black/death metal recipe.<br />
<br />
As is the case
with many of the best EPs, this offering also finds its pace towards its all too
premature close. 'Opus: Decay' sufficiently demonstrates Abominor's
ability to hew arresting material imbued with just enough melody,
lashings of atmosphere and a certain malevolent pulse. There's definite
potential on display here, and sounding that little bit different to the
other Icelandic maniacs currently operating in the same sphere can't do
Abominor any harm, but quite possibly the total opposite.<br />
<br />
Rating: 75%</div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-45571926628441826692015-07-02T22:18:00.000+01:002015-07-02T22:26:06.376+01:00Hurling Burning Spears<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/5/0/5/9/505952.jpg?2122" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/5/0/5/9/505952.jpg?2122" height="200" width="200" /></a></div>
Band: Genocide Shrines<br />
Release: 'Manipura Imperial Deathevokovil: Scriptures of Reversed Puraana Dharmurder' (2015)<br />
<br />
Ears very used to European and North American death and black metal
will sometimes suffer a form of aural lethargy, leading them to seek
more inventive (or at least unprocessed) cacophony.<br />
<br />
Asian and South
American
bands have continuously exhibited a seemingly inherent talent for
recapturing the primal essence of the most extreme of metal genres while
demonstrating an awareness of contemporary trends that they often warp
and re-purpose with fantastically devastating results.<br />
<br />
Sri Lanka's Genocide Shrines left heads spinning with their 2012 <span style="background: yellow none repeat scroll 0% 0%;"><span style="background-color: white;">EP</span></span>, 'Devanation Monumentemples', which broadcast the band as serious contenders
within the international black/death metal confederacy. Its blend of heads-down, no frills black/death akin to Proclamation and Witchrist
garnered generally positive reviews from worthwhile sources and crafted
the template for what fans hoped would eventually appear.<br />
<br />
Ritualistic intonations open their latest expiation, 'Manipura Imperial Deathevokovil: Scriptures of Reversed Puraana Dharmurder', released via Canada's supporters of total death, Vault of Dried Bones. Layered with an
undeniably Asian texture, which is both fresh and forthright in setting
the tone of this excellent record, its presentation is immediate and
unbridled. In an arena calloused to seemingly endless levels of
down-tuning and distortion, Genocide Shrines' tone manages to surprise,
being concurrently superbly sludgy yet crisp, and confoundedly heavy in the
truest sense.<br />
<br />
Incessant waves of crashing, precision percussion
complement audible, layered riffing that manages to remain thoroughly
aggressive throughout the release's duration. Though there is some
blending in the tracks, variations in pacing supply a vigour that may
astonish some within the context of such an album. Well-situated
discordance, nestled among the record's slower sections, nods toward the
musicianship behind what is otherwise all out blitzkrieg.<br />
<br />
Before, between and after tracks, eastern monk type chanting, panpipes, echoing sounding bowls, hypnotic ceremonial drumming and
adult film moaning encourages the band's <i>anti-Dharmic</i>
suggestion; the
usual simplicity and harmlessness of wind chimes suddenly becomes wholly
ominous. Seen throughout the release's accompanying artwork, the band -
bar their group photo - have eschewed the commonplace gas masks and
bullet belts of their genre for more apt and aesthetically sound
iconography, which adds both a maturity and thoughtfulness to affairs by
lending cultural weight and consummate eeriness.<br />
<br />
'Manipura
Imperial...' is a rich presentation of militant, oppressive, sanguine,
bristling black/death metal with a disposition all its own. While
Genocide Shrines share the impetus and sonic realms of bands such as Wrathprayer and Daamar, comparisons to Spanish powerhouse duo Teitanblood are the most fitting (and complementary), yet the Sri Lankans are no mere copycats. This record is one of the best of 2015.<br />
<br />
Rating: 95%polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-20573954409059546512015-05-17T18:49:00.001+01:002015-05-17T19:00:49.814+01:00Fountains of Ash<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/4/9/5/4/495481.jpg?0135" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/4/9/5/4/495481.jpg?0135" height="200" width="200" /></a></div>
Band: Malthusian<br />
Release: 'Below the Hengiform' EP (2015)<br />
<br />
<div>
<div>
<div>
<div>
<div>
It is hard not to overstate the importance of
this release for Irish metal. Next to the decades of hard work put in by
stalwarts Primordial and the feverish dabblings of black metal entities
Slidhr, Myrkr and Rebirth of Nefast, Malthusian now occupy the role of
Ireland's answer to internationally recognised acts such as
Mitochondrion and Antediluvian.</div>
<div>
</div>
<div>
<br />
Malthusian's molasses-like
concoction of black, death and doom metal is accomplished and developed
beyond the band's years. As Ireland has yet to see the usual crop of
Beherit and Blasphemy worshippers that proceed something as evolved and
tight as Malthusian's output, this EP is a brilliant and very welcome
enigma in terms of a scene's musical growth.</div>
<div>
</div>
<div>
<br />
On
'Below the Hengiform' attention is initially drawn to the competency of
drummer JK, who also lends his talents to Irish death/grind veterans
Abaddon Incarnate and recently reunited post-black metal success story
Altar of Plagues. Alongside sundry rhythmic patterns, serpentine guitar
work and innovative vocal stylings add variety and layering to the
consistently enthralling happenings. At points, chant-like
throat-singing, performed by vocalist/bassist PG (also of
Irish doom/death outfit Mourning Beloveth) adds a definite sense of the supernatural.</div>
<div>
</div>
<div>
<br />
Within the release's three offerings, there exists
moments of genuinely chilling magic; nods to
Morbid Angel's often overlooked opus, 'Formulas Fatal to the Flesh', are
audible in the stop/start makeup of some sections, while the closing
moments of "Slouching Equinox" are nothing short of death/doom mastery.
Here is technicality in abundance, but void of the usual lethargy that
can frequently curse such material. This quartet haven't sacrificed the <i>wall of sound</i>, the brickwork is simply more skilled.</div>
<div>
</div>
<div>
<br />
In
essence, 'Below...' owes its satisfying bearing to varied pacing,
assured musicianship and optimal production values, all of which
demonstrate the band's allegiance to their chosen genres, as well as a
level of professionalism and prowess that enables Malthusian to nestle
next to the aforementioned big names with ease.</div>
<div>
</div>
<div>
<br />
Akin
to all landmark releases, this one terminates all too soon. Often
questioned on the movement toward the eventual presentation of a
full-length, the band are in no rush, instead preferring to ensure that
not a superfluous moment makes the final cut by refining their output
via releases such as this.</div>
<div>
</div>
<div>
<br />
Having shared stages
with notables like Dead Congregation, Dødsengel and Altar of
Plagues, to name but an illustrious few, Malthusian are a testament to
passion and perseverance, and the current idols of Ireland's burgeoning
metal underground.</div>
<div>
</div>
<div>
<br />
Rating: 90%</div>
</div>
</div>
</div>
</div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-51762710664062071782015-04-12T17:43:00.001+01:002015-04-12T18:07:27.884+01:00The Gospel of the Slit Throat<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.metal-archives.com/images/4/7/3/9/473916.gif?3204" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.metal-archives.com/images/4/7/3/9/473916.gif?3204" height="200" width="200" /></a></div>
<div>
Band: Devouring Star</div>
Release: 'Through Lung and Heart' (2015)<br />
<br />
It is difficult to consider comparisons to
heavyweights Deathspell Omega as a disservice to any hardworking black
metal band or act. For many, they represent black metal's
artistic zenith, musically, lyrically and aesthetically.<br />
<br />
The band's
current sonic direction, heard only as seedlings on 'Si Monumentum...'
and more recently fully abloom on 'Paracletus', has been described as
everything from jazz black metal to bearing more similarities to the
likes of The Dillinger Escape Plan than anything ever wildly imagined by
Darkthrone. Yet, despite those apparent non-sequiturs within the rigid,
serious world of black metal, they are considered untouchable and
invariably wholly seminal.<br />
<br />
Finland's Devouring Star
revealed themselves in 2014, brandishing a rancorous two-track,
self-titled demo. Arresting, developed and ambitious, it caught a lot of
warranted attention and it took no time at all for the Deathspell Omega
comparisons to lazily fill headlines and column space. While the
similarities and nods were audible, Devouring Star avoided all of the
flattery utilised by Dutch outfit Dodecahedron, for example. In short,
Devouring Star, as a contemporary black metal band, couldn't help but be
influenced by Deathspell Omega, but their Finnish charm shone through
the Francophilic tendencies of their peers.<br />
<br />
While 'Through
Lung and Heart' opens with yet more Deathspell Omega acknowledgement,
displaying 'Kénôse'-like plodding drums beneath discordant, jarring
riffing, as well as some of those The Dillinger Escape Plan-style
bass-heavy, intricate, slow section breakdowns, Devouring Star manage to
incorporate every aspect of this into an all-engulfing, organic sound
that is very much their own. It is warm, rich and pulsating, and not a
mere carbon copy.<br />
<br />
Niceties aside, this is a merciless black
metal record, with very little in the way of respite to be found track
to track, no matter the music's pace. Interestingly, the band's
steadfast pummelling drumming and dissonant riffing, while entirely
competent and listenable, often gives way to inspired slow to mid pace
sections that shed light on excellently crafted melodies, particularly
in "To Traverse the Black Flame". Added to this, an unhurried section
heard within the second track, "Decayed Son of Earth", is reminiscent of
slower portions found on Funeral Mist's excellent 'Maranatha'.<br />
<br />
As
an entire offering and debut full-length, fortified by visuals/layout
from Comaworx and Brianvdp, as well as eloquent lyrical oblations,
'Through Lung and Heart' is fantastically strong and truly haunting in
many respects. While its vocals may be considered par for the course and
are definitely one of the weaker aspects of this album, the rest of the
musicianship is focused, suitably abrasive and memorable, unlike so
much of their counterparts' output. Among a slew of post-Deathspell
Omega acts, Devouring Star have set themselves apart with apparent ease.
Watch this one make Best of 2015 lists later in the year.<br />
<br />
Rating: 85% polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-40543340401010989692015-03-03T21:49:00.000+00:002015-03-03T21:49:38.594+00:00Black Ice<div class="separator" style="clear: both; text-align: center;">
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Band: Misþyrming <br />Release: 'Söngvar elds og óreiðu' (2015)<br /><br />Emerging
from a scene consistently active far longer than most of the on-trend
webzines and ten a penny, hip writers would have you believe, Misþyrming
are another Icelandic troupe riding the crests of the mercilessly
biting waves that have been battering the barren shores of the
underground the last while.<br />
<br />
The slightest whiff of this
particular strain of Nordic gloom sees completist black metal devotees
scrambling over limited-run releases and coloured vinyl peddled by
zealous labels who, complete with the requisite loftiness, must surely
believe all their birthdays have come at once.<br />
<br />
On top of this,
there has even been some mention that the scene's would-be godfathers,
Svartidauði and Sinmara, peaked far too early, missing out on the <i>cool</i>
factor that now wafts about Icelandic black metal. Overall, though,
none of this conjecture seems to have detracted from the fact that those
bands' respective full-lengths remain this particular coven's benchmark
releases to date.<br />
<br />
However, Misþyrming's 'Söngvar elds og óreiðu'
is no mere addition to the Icelandic sound, wielding as it does a
character-rich throb that grants its own identity, peppered with apt
nods to the aforementioned scene seniors. While the record opens with a
typically pummelling, abrasive onslaught that does encourage chatter
about Svartidaudi similarities, Misþyrming's sound is rather less crisp;
just audible amid the murk, some intelligent riffing is disappointingly
lost. Whether or not this was intentional remains a mystery.<br /><br />Though
the record's earliest offerings labour tirelessly to engage the
listener, it isn't until track five, 'Er haustið ber að garði', that
Misþyrming appear to truly open up and demonstrate their own adept
musicianship. Several tracks' slower sections betray a knowledge of bona
fide, bass-heavy groove that works excellently to glue together the
more standard proceedings, and while frenzied riffing abounds, subtle
ambiances play beneath the nebulosity. Interestingly, it may also be
hazarded that there are almost post-punk elements existing in some of
the album's mid-tempo segments.<br /><br />Business is bound together
with expectedly competent yet quite standard percussion, which acts more
so as buttressing, as opposed to an element with its own presence.
Affairs are further underpinned by laudable attempts to conjure the
malevolent spirit of Arioch/Mortuus of Funeral Mist/Marduk to aid in the
choral department, making for some truly and fittingly possessed
emanations from vocalist D.G.<br /><br />In essence, 'Söngvar elds og
óreiðu' is a substantial and layered presentation, many of those layers
only revealing themselves after several digestions. Added to this,
quirky interludes and a fantastically ominous outro
go further yet to prove that the Icelandic cult undoubtedly knows a
thing or two about
crafting <i>real</i> black metal. This is a record well worth the absorption
time.<br /><br />Rating: 90%polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-77136985877148610712015-01-25T22:39:00.000+00:002015-01-25T22:39:13.803+00:00The Tomb Becomes a Womb<div class="separator" style="clear: both; text-align: center;">
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Band: Hetroertzen<br />
Release: 'Ain Soph Aur' (2014)<br />
<br />
One of Lamech Records' esteemed roster, Hetroertzen enjoy a
certain hermetical aura that many of their contemporaries often fail to
invoke. The Chilean ensemble (now located in Sweden) sound akin to a
rediscovered 90's Norse black metal mix tape, dust-caked and well worn,
but exuding just enough energy to blow most modern, over-embellished
black metal out of the water.<br /><br />Weaving about in the wake
left by 2010's 'Exaltation of Wisdom', their 2014 effort - making quite a
few Album of the Year lists - retains the mesmerising style of its
forbear. Utilising a grandiose atmosphere created by crisper production
values that lend real clarity to the instrumentation, while retaining
just enough harshness, 'Ain Soph Aur' is a sanguine declaration of
Hetroertzen's patent devotion.<br />
<br />
Attention is initially
drawn to proceedings with the use of clean, operatic style vocals that
underpin the band's ritualistic nuances. Complete with their
melody-rich, trademark serpentine and arresting riffing, complemented by
wholly competent percussion that is reminiscent of the legendary
Hellhammer in parts, Hetroertzen boast a special ability to transport
the listener back to the aforementioned glory days of their chosen
musical genre, and to some of its most hair-raising aural endeavours.<br />
<br />
Containing
over an hour of material to absorb, twelve tracks interlaced with apt
samples and ambient passages, this is one of the few modern records that
captures the now overused notion of <i>ritual</i>. Hetroertzen's live exploits
are a combination of theatre and musicianship, featuring costume
changes and Black Mass activities in between song performances. Amidst a
stage adorned with occult practise paraphernalia, this is a band in
tune with black metal's indebtedness to spectacle and symbolism.<br />
<br />
'Ain
Soph Aur' is an ambitious release, adding variations in tempo and vocal
style to Hetroertzen's now characteristic sound that was undoubtedly
perfected on 'Exaltation of Wisdom'. There is even some genre crossover
to be discovered, as the mid-tempo offering, "The Luminous One", is
surprisingly evocative of death metal Egyptologists Nile. As expected
for this release, the layout, design and artwork supplementing the
band's brand of ritual noise is suitably esoteric, appearing and reading
like an ancient occult tome.<br />
<br />
Despite all efforts,
'Ain Soph Aur' fails to achieve the level of intoxication that made
'Exaltation of Wisdom' so thoroughly pronounced. Even with its improved
production, almost cinematic scope and willingness to experiment, it is a
subordinate record, but still far superior than most of what is
marketed as black metal of late.<br />
<br />
Rating: 85%<br />
<br />
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-12829925338588601822015-01-01T21:42:00.000+00:002015-01-01T21:47:51.848+00:00The Whisper of the Dead<div class="separator" style="clear: both; text-align: center;">
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Band: Dysangelium<br />
Release: 'Thánatos Áskēsis' (2014)<br />
<br />
<div>
<div>
<div>
The greatest demos ooze potential and swagger. They are
self-assured, forceful declarations of intent - and when attached to
relatively new acts, they can be truly unnerving. </div>
<div>
</div>
<div>
<br />
Released in mid-2014,
the three-track 'Leviaxxis' pushed through the swathes of also-ran black
metal troupes similarly vying for attention. With an approach akin to
early Watain, the demo had no issue attracting recognition and building
anticipation for Dysangelium's debut full-length, which was due to
slither forth on a certain date ripe with implication.</div>
<div>
</div>
<div>
<br />
To
those attuned, 'Thánatos Áskēsis' may appear as nothing new or terribly
fresh, but it is the approach taken by Dysangelium, complemented by a
certain amount of grandstand, that levitates this release above the
ever-growing Swedish black metal styled masses. Natural, discernible,
echoed vocals drip with fervour and devotion. While the lyrical content
may not be as developed as that presented by the likes of Deathspell
Omega or Dysangelium's compatriots Ascension, it is their delivery,
rounded off with arresting artwork and layout by Brianvdp, that lends a
veritable sense of credibility to every track.</div>
<div>
</div>
<div>
<br />
Mastered at
Studio Emissary, a name now synonymous with class acts such as Sinmara
and Svartidauði, 'Thánatos Áskēsis' is bolstered by a production that is
both organic and cohesive, leaving it thoroughly accessible and never
over-polished. A rumbling, dirty bass tone buttresses proceedings,
integrating itself excellently within the sharp and frenzied yet
melodious riff structures. The aforementioned wanton vocals, mostly a
mid-level yet endlessly compelling growl, cement every minute of this
release. Though percussion is competent, apt and never lost in the mix,
it is quite typical of the genre and lacks any real revelation.</div>
<div>
</div>
<div>
<br />
With
its content resembling that of Chaos Omen at times, 'Thánatos Áskēsis'
is a record wholly generous with its standout offerings. The varied
tempos of "Words like Flames" command immersion, as do "Aries" and the
spectacularly catchy "Murmura". "Chaomega", a tantalising morsel which
also graced the 'Leviaxxis' demo, is an assuredly haunting track, rife
with those palpable, growled vocals.</div>
<div>
</div>
<div>
<br />
Closing track, "I Am
the Witness, I Am the Servant" bursts with ardour. It is a fanatical,
consuming barrage that is almost hymn-like in its definitive affirmation
of faith and aspiration. Comparable to early Glorior Belli in parts, a
little room is conceded to allow for effective slow to mid pace,
atmosphere-laden sections before returning to the band's habitual
offensive. Overall, as an inaugural full-length 'Thánatos Áskēsis' is an
alluring nod to what Dysangelium have in store once their particular
strain of diabolism is allowed room to breathe.</div>
</div>
</div>
<br />
Rating: 75%polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-28709187786012980642014-12-28T22:29:00.000+00:002014-12-29T09:28:50.696+00:00We Offer You Our Flesh As a Temple<div class="separator" style="clear: both; text-align: center;">
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Band: ASCENSION<br />
Release: 'The Dead of the World' (2014)<br />
<br />
<div>
<div>
<div>
'Consolamentum' remains a magnum opus. The 2010
full-length continues to exude prowess and magic, as its track after
track concurrence offers one of the most assured and robust black metal
releases of the last 10 years. In some ways, within its own little niche
of the black metal strata, it is untouchable.</div>
<div>
</div>
<div>
<br />
The
'Deathless Light' EP released on All Hallow's Eve of 2014 flaunted the
fervently anticipated follow up, 'The Dead of the World', and it left
most listeners insatiable, promising as it did a prodigal son, of sorts.
The EP's title track stood out easily, with its perfect mixture of
tempo, menace and subtly interwoven expert riffing amid the distorted
yet controlled flow. All in all, it was genuinely haunting, and would
have found itself comfortable on 'Consolamentum'. It instead finds
itself a stand out track on 'The Dead of the World'.</div>
<div>
</div>
<div>
<br />
The
slow- to mid-pace minutes that open 'The Dead of the World' set the
timbre and ebb that dominate the record. It initially appears somewhat
more introspective, even more mature, than the blasted approach of
Ascension's debut full-length, but consequently, it is only when
proceedings advance the pace - sounding akin to Funeral Mist in sections
- that more of that paramount and intoxicating magic begins to seep
outward. Indeed, it is only by the album's third oblation, "Black
Ember", that it begins to feel like an Ascension record.</div>
</div>
<br />
Essentially,
the album's slower approach does work well to place greater emphasis on
mood and atmosphere,
but there exists little of the gooseflesh-rendering proficiency of
'Consolamentum', an album of anthems and shatteringly marvelous black
metal. Nonetheless, the song-writing is thoroughly competent, laced with
underlying melodies that betray Ascension as professional musicians
capable of so much more; a band capable of what their first full-length
tendered. However, there is great tenacity to be found in the lyrical
themes and in the ardent vocal delivery of such, which veers between similarities to Erik of
Watain and the often imitated Arioch/Mortuus of Funeral Mist/Marduk.<br />
<br />
Ever
important, as a package, the release is deftly bestowed, with aptly
dark, obscure and masterful artwork and layout by David Glomba of
Teitan Arts and Trident Arts, respectively. The record's cover is
adorned
with a striking illustration of an insect creature akin to the
death's head hawk moth made popular by the Silence of the Lambs. Its
decayed appearance, wings marked with sigils, works uncomplicatedly to
complement the album's theme and raises it above standard black metal
imagery. It is due to this and the inspired, lengthy album closer,
"Mortui Mundi", that the full-length is pulled back from the brink.</div>
<div>
</div>
<div>
<br />
'The
Dead of the World' is peppered with tracks that will go over well in
festival settings. Dirge-laden, headbanging numbers may appease an
intoxicated crowd but, in many ways, they fall short of being able - or
worthy - to nest next to the mystique-rich majesty of the majority of
'Consolamentum'. Bands dabbling in similar concoctions, such as Inferno
and Tortorum, ape the likes of Ascension with apparent ease. They may
lack that final layer of polish, but following a marginally prosaic
release like 'The Dead of the World', Ascension may find their grasp on
their particular throne slipping, even if it is ever so slightly.<br />
<br />
Rating: 60% </div>
polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-43974248329678888422013-01-19T16:23:00.001+00:002014-12-28T22:34:11.048+00:00Seraphs Shat Their Beds<div class="separator" style="clear: both; text-align: center;">
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Band: MEDICO PESTE<br />
Release: 'א: Tremendum et Fascinatio' (2012) <br />
<br />
This is a tangible illness, a slick disease that coats your fingers and never disappears from under your nails. Medico Peste have insured that naught but misery and desperation waft constantly from 'א: Tremendum et Fascinatio', a release so audacious in its confidence, it is almost impossible to believe it is a debut full-length.<br />
<br />
While utilising what has come to be known as the 'French sound', a now quintessentially Gallic form of audio, most recognisable from the likes of Merrimack and Glorior Belli, Medico Peste have injected just the recommended amount of that Eastern European penchant for despondency into the contemporary black metal hum.<br />
<br />
Medico Peste present a predominantly mid-paced black metal of dissonant harmonies and plucked, distorted strings supported by immediate, tenacious percussion. 'א: Tremendum et Fascinatio' applies faster sections and blasted interludes that are timely and dauntless, but suffer from repetition. Before monotony sets in, however, proceedings often switch to more upbeat rhythmic patterns that surprise.<br />
<br />
The band are sonically similar in ways to Sektemtum and Shining (Swe) in their exhibition of black metal-laced, darkened rock motifs, but these are progressively shattered by smatterings of blast beats and an overriding sense of mental illness. Medico Peste’s material is incredibly tight and the use of martial percussion in parts adds further precision to proceedings.<br />
<br />
As well as nods to the aforementioned French practitioners, there exist references to Hell Militia, Rêx Mündi, Blut Aus Nord and even the endlessly impressive Deathspell Omega – especially in the title track.<br />
<br />
What becomes clear early is that the real emphasis here is on the creation of an atmosphere, and it is that that Medico Peste conjure effortlessly. It is not long before images of sickness, dust-caked, filth-smeared halls and bandaged, rotting limbs begin to materialise, doubtlessly aided by the excellent lyrics, artwork, and design, all rendered by the band themselves.<br />
<br />
An album recorded, mixed and mastered at No Solace studio by the now legendary M of Mgła fame would seemingly already have a lot to offer before even the most brief of listens, but as it happens, it may have been M’s expert touch that added just one layer of polish too much to this offering. At times, the clarity of this recording detracts from the aura and tension that the instruments have worked so hard to construct; it is too much perfume on a first date, perhaps.<br />
<br />
As a result, there is a lack of aggression in the instrumentation, overall. It is the vocalist’s gurgled, mid-level growl, often descending to a miserable wail that allows this record to stand out and recommend itself. The vocal performance is unnervingly impassioned and is sprinkled with impressive, clean vocal sections that lend a real seriousness and haunting dedication to Medico Peste’s output. <br />
<br />
In essence, 'א: Tremendum et Fascinatio' is a bold and focused introductory statement that Medico Peste can revise and refine for later efforts, most probably with devastating results.polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-64031356208977175232012-03-22T21:42:00.003+00:002012-09-12T13:05:51.589+01:00The Last Sunrise<div class="separator" style="clear: both; text-align: center;">
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Band: COLD GREY DAWN<br />
Release: 'The Blade Across Your Throat' (2007)<br />
<br />
The black metal history of the Emerald Isle makes for miserable reading, its pages populated by promising bands/projects who released quality demos and EPs only to be never heard from again. It's most probable that they were left utterly unenthused by the overall reaction to their efforts, or, as some online diatribes have suggested, Ireland has just never really understood black metal in the way our European cousins do.<br />
<br />
Even the slightest amount of research into Ireland's strongest, lasting black metal acts will tell you that they're all manned by the same individuals; unrestrained vision, dedication and a detachment from the metal scene at large provide the feed for these projects that now enjoy veritable cult status next to some of the best known contemporary, underground, 'orthodox' black metal practitioners.<br />
<br />
Dublin's Cold Grey Dawn slithered onto the radar in 2007 with their foreboding and enthralling 'The Blade Across Your Throat' demo. Complete with prerequisite barely visible cover art, grainy graveyard imagery and misanthropic song titles such as, "Culling the Human Herd" and "A Famine of Knowledge" (referencing the Celtic fable, The Salmon of Knowledge), it provides a mechanised, chilling listen.<br />
<br />
The demo's title calls to mind lyrics found in "Chaos Prayer; Deus Bellum" (<i>"…our lives each a blade across their throats...")</i>,<i> </i>a track by Sweden's excellent Sigrblot, found on their 2003 full-length. It succeeds in conjuring the same sense of unease, of unhappiness with the status quo, while commenting on an urbanised, routine existence of induced nihilism; a pointless, miserable journey leading only to the grave.<br />
<br />
Cold Grey Dawn's cacophony reverberates constantly, like the world's audio through a sea shell. Its quality is other-worldly and echoes long after the demo terminates. Clanging, distorted guitars and bass meander around snappy, crisp, minimalist percussion, while rasped vocals add to the sense of claustrophobia and shuddering tension just beneath an ever-taughtening surface. A murky, genuinely oppressive and unnerving atmosphere shares a similarity with that found in cult survival horror video game, Silent Hill.<br />
<br />
Unfortunately, the act seems to have gone the way of arresting, solid acts such as Carnún, Thrallenolc, Moonfog, Funeral Winter and Myrkr. While the members of Cold Grey Dawn may be involved in other creative outlets (musical or otherwise), for now, as the welcome, grim entity that the band embodied for Irish black metal, they're lamentably silent.<br />
<br />
Rating: 80%<br />
<br />
Also submitted to <a href="http://www.metal-archives.com/reviews/Cold_Grey_Dawn/The_Blade_Across_Your_Throat/165006/" target="_blank">metal-archives.com</a> under the username 'torchia', 18 March, 2012.<br />
<br />
-polymerpolymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-16993416668001429782011-11-20T01:01:00.000+00:002012-09-12T13:04:51.280+01:00Raising Their Temple<a href="http://www.metal-archives.com/images/3/1/1/2/311284.png?0205" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://www.metal-archives.com/images/3/1/1/2/311284.png?0205" width="200" /></a>Band: REX MUNDI<br />
Release: 'IHVH' (2011)<br />
<br />
As an arena of expression, extreme music has always walked the fine line between genuine artistic merit and a ridiculed circus of often unaware self-abasement. In particular, black metal has regularly had to bear the brunt of merciless, though astute, parodies and more often, annoyingly ill-informed pop culture references that feed unashamedly off the genre's headline grabbing activities during its toddler stages.<br />
<br />
Interestingly, contemporary (and mostly 'orthodox') black metal acts, in an expectedly confrontational manner, have tapped into these earliest, controversial rumblings and re-opened the credibility debate once more, while more established acts such as Dimmu Borgir and Satyricon are busy selling 'official' underwear and appealing to post-emo fanbases.<br />
<br />
Today, 'real' black metal operates in a realm of almost primordial levels of seriousness: a return to "No Mosh, No Core, No Trends, No Fun", perhaps. Either way, it is most definitely encouraging some of the greatest material the genre has ever produced.<br />
<br />
Following their 2005 demo, Rêx Mündi seemingly disappeared into the nether recesses of the underground, as the 77 limited copies of their first opus quickly became a hard-to-find gem of twisting melodies and informed occultism.<br />
<br />
Sharing the demo's title, 'IHVH', this full-length is a veritable reward to all patient enough to have awaited another release from Rêx Mündi, and who were giddy from the instant dedicated French extreme sounds label, Debemur Morti Productions, revealed details concerning the record, along with tantalising samples.<br />
<br />
'IHVH' is a thoroughly arresting concoction of dense atmosphere and accomplished song writing. Examining Qabalistic philosophy, the occult, metaphysics and laced with haunting chants, while often balancing on the cusp resting betwixt intricate melody and metal abrasiveness, it is an exercise in suitable variation and utimately presents an act well practiced in the black metal arts.<br />
<br />
At points, Rêx Mündi demonstrate an approach and structure similar to their fellow countrymen, Merrimack, but their changing rhythmic patterns and willingness to inject some typically metal toe-tapping (and 'moshable') sections sets them aside from the majority of the contemporary black metal milieu. The impressively executed percussion possesses a satisfyingly punchy emittance that sits well over the main instrument mix without sounding disconnected in the process.<br />
<br />
The record is also veined with several surprisingly thrashy, though refreshing, moments. The beginning of "The Flesh Begat" chugs forward into some excellently blasted black metal that then effortlessly merges into a slightly doomy section, sounding momentarily like a Hammer Horror film's soundtrack.<br />
<br />
Debemur Morti Productions' fingerprints are all over this album. A label that clearly delights in perfecting layout and design (probably much to the joy of the bands it fosters), the accompanying booklet is rendered in the style of an ancient magical text, complete with embossed band logo and sigil, all presented in lustrous gold ink on a black background.<br />
<br />
While it is a little more 'upbeat' and seemingly less shy of its headbanging heritage, 'IHVH' remains a serious, devoted release. Though more 'metal' than the most recent Blut Aus Nord output, for example, Rêx Mündi are essentially channelling the very same energies and posing the same questions to the heavens, mankind and the uncharted planes.<br />
<br />
Rating: 80%<br />
<br />
Also submitted to<a href="http://www.metal-archives.com/reviews/R%C3%AAx_M%C3%BCndi/IHVH/311284/torchia" target="_blank"> metal-archives.com</a> under the username 'torchia', 19 November, 2011.polymerhttp://www.blogger.com/profile/00876580885400677516noreply@blogger.com0tag:blogger.com,1999:blog-7372404054048005048.post-88077986493186493502011-11-02T12:03:00.001+00:002011-11-09T15:14:02.640+00:00Of Silence and Exsanguination<a href="http://www.metal-archives.com/images/1/8/4/7/184755.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="160" src="http://www.metal-archives.com/images/1/8/4/7/184755.jpg" width="320" /></a>Band: NIGHTBRINGER<br />
Release: 'Death and the Black Work' (2008)<br />
<br />
Approaching a US black metal release is regulary and alarmingly different to the way releases from bands in other countries can be absorbed.<br />
<br />
The 'underground metal media' have often painted USBM as either a palid clone of its European forbear or an entity in itself, with no tangible ties to the resurgent atavism that gave birth to black metal in late 20th century northern Europe. <br />
<br />
It is this contentious diatribe, perhaps, that colours the view of USBM's likely (and deserved) audience. Yet, many acts, Nightbringer among them, have continuously challenged the "only European BM is real" camp with material of such strength that it leaves even some of the most established acts, a few involved in the genre's earliest activity, in the shade.<br />
<br />
'Death and the Black Work' is a heavy record, not purely in musical terms, but in a fashion that allows it truly weigh down on the listener. It is an impenetrable mass of clammy, dusty atmosphere, a wall of blackened, dissonant sounds and a rumbling presence that is unavoidable and uniquely unnerving for the duration of its playtime.<br />
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Initially, Nightbringer appear to sound much like a less-polished Setherial, employing intriguingly varied blast-beat patterns and meandering, competing melodies that crawl in and out of a dense fume of foreboding energies and harsh static.<br />
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However, the release's earliest tracks unfortunately blend into one long exercise in distortion, drumkit pummeling and a mixture of croaked and shrieked vocals. It is listenable and musically proficient, but nothing new or in any way terribly interesting. Only later, in the album's middle and closing tracks, does Nightbringer's aptitude for creating some quite magical black metal show its face.<br />
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Offerings such as, "Of Silence and Exsanguination", with its tense, ambient intro and echoing percussion calls to mind those comparisons that have been drawn between Nightbringer and the mighty Deathspell Omega. Such declarations are possibly a little ambitious, but like Deathspell Omega, Nightbringer are adept at incorporating doom and sludge/doom elements into their otherwise 'heads down', claustrophobic black metal barrage.<br />
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As a debut full-length, 'Death and the Black Work' is confident, occultist black metal from a band now surrounded by a certain mysticism and zealous following. As is often the case, the hype that can be created around bands and projects needs to be pushed aside for a period of time in order to truly appreciate what the band was originally attempting.<br />
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This piece of black metal art is most notable for its masterfully crafted atmosphere, this being what truly grants the release (and the band) its own identity among a plethora of acts all essentially doing the same thing.<br />
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Rating: 60%<br />
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Also submitted to <a href="http://www.metal-archives.com/reviews/Nightbringer/Death_and_the_Black_Work/184755/torchia">metal-archives.com</a> under the username 'torchia', 2 November, 2011.<br />
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