The Tomb Becomes a Womb

Band: Hetroertzen
Release: 'Ain Soph Aur' (2014)

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.

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.

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.

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 ritual. 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.

'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.

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.

Rating: 85%

The Whisper of the Dead

Band: Dysangelium
Release: 'Thánatos Áskēsis' (2014)

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. 

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.

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.

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.

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.

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.

Rating: 75%

We Offer You Our Flesh As a Temple

Band: ASCENSION
Release: 'The Dead of the World' (2014)

'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.

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'.

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.

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.

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.

'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.

Rating: 60%

Seraphs Shat Their Beds

Band: MEDICO PESTE
Release: 'א: Tremendum et Fascinatio' (2012)

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.

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.

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.

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.

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.

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.

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.

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.

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.

The Last Sunrise

Band: COLD GREY DAWN
Release: 'The Blade Across Your Throat' (2007)

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.

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.

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.

The demo's title calls to mind lyrics found in "Chaos Prayer; Deus Bellum" ("…our lives each a blade across their throats..."), 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.

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.

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.

 Rating: 80%

Also submitted to metal-archives.com under the username 'torchia', 18 March, 2012.

-polymer

Raising Their Temple

Band: REX MUNDI
Release: 'IHVH' (2011)

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.

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.

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.

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.

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.

'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.

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.

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.

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.

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.

Rating: 80%

Also submitted to metal-archives.com under the username 'torchia', 19 November, 2011.

Of Silence and Exsanguination

Band: NIGHTBRINGER
Release: 'Death and the Black Work' (2008)

Approaching a US black metal release is regulary and alarmingly different to the way releases from bands in other countries can be absorbed.

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.

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.

'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.

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.

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.

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.

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.

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.

Rating: 60%

Also submitted to metal-archives.com under the username 'torchia', 2 November, 2011.

-polymer