Report: Unconquered Darkness; Dublin - 29/04 - 01/05/2016

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.

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.

 

 

Unable to catch Friday's burnt offerings to the void, the weekend's fruits were lined up for consumption. All in moderation, of course.

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.

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.

 

Qrixkuor - 'Three Devils Dance' EP

 

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.

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.

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.

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.

 

Adversarial

 

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.

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".

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.

 

Malokarpatan

 

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.

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.

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.

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.

 

Ellorsith - '1959' EP

 

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.

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

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.

 

Krypts

 

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.

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?" 

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.

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.

The Best of 2015

My first ever End of Year list, in no particular order, and not restricted to full-length releases. Most demos and EPs are usually more interesting, anyway.

There are a few recent releases on the ever-growing, unwieldy to-listen pile that could most probably be added to this, but the year draws to a close...

Ambevilence - 'Ambevilence' EP
Tetragrammacide - 'Typhonian Wormholes...' EP
Serum Dreg - 'Impure Blood' demo
Genocide Shrines - 'Manipura Imperial Deathevokovil...'
Malthusian - 'Below the Hengiform' EP
Devouring Star - 'Through Lung and Heart'
Misþyrming - 'Söngvar elds og óreiðu'
Spectral Voice - 'Necrotic Doom' demo
Revenge - 'Behold.Total.Rejection'
Pneuma Hagion - 'Trinity I' demo
VI - 'De Praestigiis Angelorum'
Vorum - 'Current Mouth' EP
Shroud of The Heretic - 'Unorthodox Equilibrium'
Adversarial - 'Death, Endless Nothing and the Black Knife of Nihilism'
Sheidim - 'Amidst the Ashes of Consciousness / In the Light of the Dying Stars' EP
Mortuus Umbra - 'Cathecism'
Slidhr - 'Spit of the Apostate' EP
Grief Feeder - 'Plague Architect'
Unyielding Love - 'Demo 2015'
Mgła - 'Excersizes in Futility'
Dendritic Arbor - 'Romantic Love'
Cruciamentum - 'Charnel Passages'

Acosmic Engineering

Band: Tetragrammacide
Release: 'Typhonian Wormholes: Indecipherable Anti-Structural Formulæ' EP (2015)

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.

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.

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'.

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.

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.

Rating: 85%

Crimson Footprints

Band: Plagues
Release: 'Death March' demo (2015) - Digital

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.

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.

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.

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.

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.

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.

Rating: 60%

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%