Solace in Emaciation

Band: Uškumgallu
Release: 'Uškumgallu' demo (2015)

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.

 

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.

 

Uškumgallu's first self-titled offering, released via shadowy black/death/noise conspirators, Vrasubatlat, is a three-track, thoroughly impetuous declaration of singular design.

 

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.

 

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.

 

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.

 

Rating: 75%

A Wretched Prayer

Band: Serum Dreg
Release: 'Impure Blood' demo (2015)

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.

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.

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.

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.

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.

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.

Rating: 80%

Through the Corpse Maze

Band: Abominor
Release: 'Opus: Decay' EP (2015)

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.

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.

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.

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.

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.

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.

Rating: 75%

Hurling Burning Spears

Band: Genocide Shrines
Release: 'Manipura Imperial Deathevokovil: Scriptures of Reversed Puraana Dharmurder' (2015)

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.

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.

Sri Lanka's Genocide Shrines left heads spinning with their 2012 EP, '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.

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.

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.

Before, between and after tracks, eastern monk type chanting, panpipes, echoing sounding bowls, hypnotic ceremonial drumming and adult film moaning encourages the band's anti-Dharmic 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.

'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.

Rating: 95%

Fountains of Ash

Band: Malthusian
Release: 'Below the Hengiform' EP (2015)

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.

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.

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.

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 wall of sound, the brickwork is simply more skilled.

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.

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.

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.

Rating: 90%

The Gospel of the Slit Throat

Band: Devouring Star

Release: 'Through Lung and Heart' (2015)

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.

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.

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.

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.

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'.

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.

Rating: 85%

Black Ice

Band: Misþyrming
Release: 'Söngvar elds og óreiðu' (2015)

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.

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.

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 cool 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.

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.

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.

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.

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 real black metal. This is a record well worth the absorption time.

Rating: 90%