Elffor - Heriotz Sustraiak (2012)

It was completely random that I happened to come across Elffor and the debut album, 'Into the Dark Forest' sometime in 2000. Back in those days this unique soul, whom hails from the Basque Country in Northeastern Spain captured my attention in a special way, and the music Eöl creates with Elffor has been amongst my favorites ever since. With each subsequent release being limited to just 500 copies, obtaining the music required swift action, even more so with this release since its limited to just 333 copies! It is however for good reason, this self-released album comes housed in a deluxe gorgeous digibook, which features fantastic artwork (as usual) as well as all the lyrics and more photos and art within. Pricey, yes, but certainly worth it.

'Heriotz Sustraiak' is his latest effort and its also his first release to feature lyrics wrote entirely in his native language, Euskara, which is the ancestral language of the Basque people. As far as the music is concerned, initially the project was within medieval ambient genre, but by the time of the second album, 'Son of the Shades,' Summoning seemed like a logical influence, though with more emphasis on Eöl's cultural roots, rather than relying entirely on the middle ages as inspiration. As the years would pass, three more albums would be released, although with each one more and more black metal characteristics would creep into the mix, but the medieval ambient, folkloristic and immense atmospheres would remain.

Here on 'Heriotz Sustraiak' Eöl gives us what I believe to be the strongest of the more blackened releases, and although only four songs are included the album still runs for almost fifty minutes. As I already mentioned, Eöl's compositions are immense and rich with atmosphere, sometimes varying between complete darkness, to total pandemonium as well moments of somber reflection, beauty and loss seem all a part of his work.

'Barrumbe Beltza' opens with an almost Dead Can Dance-ish vibe -- soaring female vocals (performed by Hildr Valkyrie), amongst light synths that create a mental image of gliding above and around misty mountains. Eventually militant percussion and an epic melody takes the forefront, invoking images of majesty and wonder when around the five minute mark the metal elements appear and the song continues along, varying in tempos and vibe, acoustic guitars appearing here and there too, and remaining brilliant throughout its twelve minute duration. 'Hildakoen Basoetan' is a bit more violent and fast in its delivery, featuring speedy tremolo picked riffs and pummeling drums, the synths play a less prominent role, but the cleanly sung male vocals are a welcomed edition to this otherwise different song. 'Heriotz Sustraiak' is a lengthy, but beautiful instrumental that bares a lot of resemblance to the opening song, while 'Kateek Loturik...' kicks off with a mournful synth melody for the first few minutes before diving into more turbulent territory and back again, solidifying itself as one of my favs on this album.

'Heriotz Sustraiak' didn't immediately catch me as being brilliant, but when I listened to each song more closely the individual moments really stuck out and grew within me. Therefore, I'd certainly act quickly if what I've said above sounds interesting, because they could all be gone very soon.

Mysticum - In the Streams of Inferno (1996/2013)

I'm sure someone out there has already wrote, "Its about time 'In the Streams of Inferno' was re-released," but seriously its about fucking time someone re-released 'In the Streams of Fucking Inferno!'

With a history dating back to '93, Mysticum from Asker, Norway were one of the most avantgarde and adventurous and ultimately influential bands to arise out of the second wave of Norwegian black metal bands. Catching the interest of Mayhem's Euronymous in '93 with their demos, 'Wintermass' & 'Medusa's Tears' plans were quickly made for Deathlike Silence Productions to release the debut, although originally under the title of, 'Where the Raven Flies.' For obvious reasons the album was never released by DSP and a few years would pass before Full Moon Productions took action and unleashed 'In the Streams of Inferno' in '96.

Mysticum in the early 90's

'Industries of Inferno' slowly crawls out the speakers as a rumbling, but quiet ambient tune with light percussion when suddenly 'The Rest' explodes with relentless mechanical percussion, industrial beats, hissing guitars, high pitched shrieking screams and highly atmospheric synths and a mood that could only be described as calamitous. And therein lies Mysticum's appeal, industrial black metal -- they were the first and they are still the best!

As the album continues onwards, songs like 'Kingdom Comes' have odd varying tempos, breaks for brief synth interludes, moments of pure ambiance and even some samples. Of course, all these years later this might not seem especially unique, and I suppose its not, but without this album bands like Blacklodge or Aborym would simply not exist.

Old school cover from '96

Surely more could be said, but in a way its almost impossible to really nail it all on the head with this one. Each song offers up something new or some variation of previous traits and it all unfolds in an absolutely special way that hasn't been touched and dare I say will ever be touched by anyone. Dark, isn't even a word to describe this record, no, its beyond all that, it is its own thing and it really has to be experienced rather than described.

This re-release of course features an entirely different cover artwork, as well the booklet is full of old photos, notes from the band, some lyrics and the whole recording is re-mastered. Additionally two exceptional bonus tracks are added from a compilation and the more recent split with Audiopain. The final bonus being a DVD, which contains the often bootlegged show from Bradford, UK in '96 and a basement show in their hometown, which was their first gig before the European tour in that same year. Bootleg quality, of course, but still fascinating enough.

Eerie, apocalyptic and just plain stunning -- 'In the Streams of Inferno' is surely one of the finest entries in Norwegian black metal and with this ultimate edition being available now you've no excuse to not own it.

Sand - The Dynamic Curve (1991)

With an assortment of bands over the years (at least nine) calling themselves Sand there has likely been some serious confusion on which Sand exactly released 'The Dynamic Curve.' Probably often confused for the krautrock band from lower Saxony, Germany that had one album in '72 titled, 'Golem,' this Sand is in fact a project from two individuals known as, Richard Green and Edward Ball whom... well, that's about all I know.

'Felatio' kicks the album off with fast acoustic guitars as a soaring gorgeous synth melody slowly enters alongside some diverse percussion and the song carries on triumphantly, gaining in momentum, it creates this mental video of traversing through snowy hills and mountains. The whole vibe of the song is one of pure beauty, melancholy and unexplainable majesty as it travels through its nearly ten minute duration switching between acoustics, synths and all at the same time. It wouldn't be out of place to call this krautrock, but this sounds vastly different and in a lot of ways more superior than a lot of bands I've heard from the genre. Notably, a member of Agalloch admitted that this song was a big influence on the band when they were recording 'The Mantle' and if you look the song up I think you'll see the similarities.

'This Thinking Feeling Moment' is a purely synthesized piece that carries a much more happy and straightforward tone, while 'Consent' makes use of a little percussion amongst the synths, its a mostly chill out track that just sort of reminds me of relaxing summer days. 'Communion' brings me back to the first song with its mixture of guitar, percussion and synths, though the whole feel of the song is more uplifting, whereas, 'Infinite' is just all psyched out, weird and probably a rad track to trip out too. 'Absolution' concludes the album in a calmer, I suppose, more typical krautrock manner as this slow trippy ambient piece takes the listener on a fun ride for over nine minutes.

In the end, I can't say the whole album is a brilliant piece of work, but for 'Felatio' I'm telling you its worth owning the album alone. The other fives songs are by no means bad, but just fail to completely capture the beauty of the first song. Nevertheless, if you enjoy krautrock that may or may not be different from the average one from this genre then do take some time to check out this hidden and probably completely forgotten album.

Darkthrone - The Underground Resistance (2013)

Back in '06 Darkthrone released an album titled 'The Cult is Alive' and effectively switched musical gears to something entirely different that left their past behind and had me shaking my head and just wondering why. Sure, most of the bands post-90's releases had been just so-so, but I digged 'em for what they were - they were still black metal, and little did I expect icons of the black metal genre to ever compromise their vision as they had done so on Cult. Three more full-lengths would follow without making much of an impact, but perhaps my acceptance of change was coming as I did find some of the songs on 'F.O.A.D.' & 'Circle the Wagons' to be at least fun, which ultimately was where I think the band was going. The black metal days were done for them and they just wanted to embrace the bands and music makers that originally inspired them to pick up their instruments in the early 80's.

News of 'The Underground Resistance' came in through one ear and out the other as I anticipated more of the same. That is until a friend began telling me about how the band had taken a turn towards classic 80's speed metal and more or less that the record was fantastic. Flash forward a few days later and I'm drinking and spinning old NWOBHM records and I suddenly remember to look the album up on youtube and, well, to say the least I fucking loved it!

Throughout six songs and forty one minutes Darkthrone essentially delivers '80's Metal 101,' a total amalgamation of speed metal, Germanic thrash, NWOBHM and proto-black metal-ness and best of all its incredible. 'Dead Early' opens with a driving catchy lead that instantly has me hooked whilst the rest of the song is thick, heavy and hard hitting as Nocturno Culto grumbles out his words. 'Valkyrie' signals towards something more epic in its grand scope, howling high pitched vocals from Fenriz and an utterly memorable main riff that can't be beat. A total fist pumper and head banger right here for sure! 'Lesser Men' shouts Mercyful Fate from the get go with a soaring start eventually Tom G. Warrior styled vocals set the stage and the song moves back and fourth between Fate and early unstoppable Celtic Frost godliness, while 'The Ones You Left Behind' hankers with this sense of teenage ardency and just plain fun that you don't hear in metal these days. Couple that up with some killer ass riffs and a mighty solo mid-way through and you've got a killer on your hands here.

'Come Warfare, The Entire Doom' just drives on and on and gets mightier as it progresses, especially the riff that pops up around the five minute mark is by far one of the catchiest I've heard in a long while and perhaps solidifies it as one of the albums best. The album concludes with the epic beast known as 'Leave No Cross Unturned,' which is no less than fourteen minutes of speedy, thrashy, Celtic Frosty and even doominess that simply can't be touched.

Where most bands progress, change for better or worse, Darkthrone has regressed and they don't go past '85 in their musical stylings. Nocturno's guitar work is undeniably exceptional featuring an innumerable amount of killer, catchy, head bobbin', fist pumping and absolutely immense riffs as well as an assortment of solos that simply can't be touched. Not to mention that guitar tone is thick and oh so vintage that I just can't get enough of it. Fenriz' drumming is surely at its best too, and its impressive the way he took extra measures to ensure it had that vintage feel to it.

Darkthrone spares no expense at raising the middle finger a bit too, for example, the photo on the back finds Fenriz in a psuedo black metal pose, while the photo is credited to 'the hater of lame BM.' Similarly the quote, "This record is 100% free of any cut 'n' paste trickery" is found and "Vintage metal sound, contains non-triggered drums" as well as a few other instances of tongue and cheek humor are to be found throughout the booklet.

In the end I am and will continue to be amazed at just how good this record is. Sure, its not the band we all heard ten or even twenty years ago, but it is without a doubt one of the bands finest outputs, yes vastly superior to their alleged classics, such as, Transilvanian Junker. Darkthrone has always influenced and will continue to do so with this record - watch as more classic sounding metal bands appear in the coming years! Sure, the black metal days are gone, but Darkthrone has taken their music to surprisingly exceptional territories and it will be fun to see where they go from here. Until then, bottoms up and keep no cross unturned!

John Haughm ‎– 122012 & 042911 (2012)

Agalloch's John Haughm has been (somewhat secretly) been releasing music under his own name since 2011 when he debuted with the '+46 17' 36​.​30", -124 4' 20​.​13"' 7" EP, which was a single track of ambient guitar experimentation's. Collaborations followed with Mathias Grassow and Daniel Menche that (I believe) were in the ambient/drone vein, mean while he's recently released a two-track cassette titled, '122012 & 042911,' which is a bit different.

'122012' is a lengthy fifteen minute piano piece that carries a heavily melancholy vibe and bares some similarities to the brief usages of piano on Agalloch's various albums and EPs. Throughout its duration it doesn't change much nor does the tempo suddenly go faster or slower, though the atmosphere remains high the whole time and it has something of a trance inducing quality to it as well. Somewhat unfortunately I feel like the whole song is entirely too long for its own good and does have that tendency to bore if you're not familiar with that sort of music or the mood John's attempting to set.

'042911' is more in an ambient and post rock-ish vein and similarly to the previous piece doesn't have much variation throughout its nearly ten minute duration, but definitely gets my attention at first. About midway through a rather odd voice begins to speak a passage from Russian poet Arseny Tarkovsky for a few minutes. The voice in question being someone named Pearl Hagan, whom appears to be an elderly woman, though I wasn't able to find out exactly whom she is or was. In any case, the sampled voice seems a little off and with the music barely changing it doesn't really make for a very overall interesting piece of music.

As a whole I wouldn't particularly recommended this release, and not that its bad or anything, but the compositions just seem too long for their own good and don't really come to any big conclusion or evolve into anything during their duration, which is weird considering Agalloch's music does the exact opposite. Either way, this is John experimenting and trying new ideas that don't fit in with his main bands ideas. If he does end up creating a full-length album it should be interesting to see what he comes up with and just how diverse the whole thing is too...

Goatmoon - Varjot (2011)

Formed around 2002 by sole member BlackGoat Gravedesecrator (AKA Jaakko), Goatmoon issued eight demos during the next two years before releasing the debut, 'Death Before Dishonour' in late '04. With lyrics centered around hatred, anti-religion, Finnish nationalism and white supremacy, BlackGoat is something of a controversial figure, though he personally rejects the NS tag because his words are not centered around Nazi propaganda. I guess that just means he dislikes brown people a lot. Regardless of subject matter, Goatmoon is absolute class as far as Finnish black metal is concerned and I've been absolutely floored since picking up 'Varjot' a few months ago.

Enlisting guest help to provide drums, bass, keyboards, additional guitar, clean vocals and even brief flute and tin whistle use, 'Varjot' may very well be his finest recording to date, although this is the only recording I've heard from the band so far so I could be slightly misinformed. As I understand it, Goatmoon was considerably rawer in their early days, though here the recording is rather polished, while still maintaining the hissing guitar tone the genre is known for. Musically the band offers up mid-paced to speedy black metal compositions that remind of Satanic Warmaster, though with a strong melodic presence intermingled with vibrant folk metal chord progressions makes for a mostly original sound, but comparisons to some of the newer Absurd recordings or stuff like Stormheit could be made for sure.

'Storming Through White Light' opens with sounds of thunderous storm roars in the background alongside a quite pleasing acoustic guitar passage, when just a little over the two minute mark the clouds burst and the blackened fury is unleashed. Immediately the listener is greeted with a catchy and melodic lead riff and BlackGoat's raspy screams, the song gradually builds in dominance, occasionally featuring flute in the background as it reaches its epic conclusion with a mighty and totally headbangable guitar solo that just can't be beat. 'Noidan verestä männikkö herää' & 'Quest For The Goat' tend to be more straightforward, hard hitting and goddamn cold in their delivery, almost bringing to mind Horna at times, while 'Varjo Valolta Suojelee' is a slower instrumental of quite simply epic proportions. The remaining four songs are equally great too, not a wasted moment and not a thing out of line as these lads just continue to crush.

Notably the drum work is quite well performed with almost constant footwork and more than enough interesting rolls and fills along the way, while the bass is also audible during some of the calmer parts of the songs and has its own moments that truly standout and just make the album soar even more. Figuring in more than enough appealing riffs, leads and great solos as well a totally strong and menacing vocal performance and you've got a beast of an album on your hands here.

As mentioned earlier, 'Varjot' is my first contact with Goatmoon, but I eagerly look forward to checking out BlackGoat Gravedesecrator's other creations very soon.

Old Forgotten Lands - Primal (2012)

Worlds removed from the somewhat simple and more straightforward synth ambient approach of the material on the 'Equinox' split with Ancient Tundra, 'Primal' brings a new direction that's considerably more evocative, focused and organic in style for Old Forgotten Lands - the solo project of Elan O'Neal. With a grocery list of instruments being included, such as the bodhran, Tibetan singing bowl, flute, accordion, timpani, maracas and rainstick (to a name a few of them) these instruments are often paired with acoustic guitars, field recordings, light ambiance and occasional spoken vocals to create something that sounds not only unique, but also ancient and timeless in character. Immediate influences could point towards the acoustic side of Agalloch or even bands like Nest or Tenhi, though the songs of 'Primal' are more than simple artist flattery or direct imitation. Atmosphere is ever present and at a high during this release as Elan and his list of guests take the listener back to a time and place of long, long ago.

The opener 'Hour of the Wolves' sets the stage with a variety of percussive instruments that intermingle with acoustic guitar and voice, while 'Song of the Dens' is more ambient based, using a deep meditative synth line throughout its duration, whereas, 'Renewal Neverending...' uses a more elaborate guitar melody that although repetitive is quite soothing in its conveyance. Similarly, '...With Each Prevailing Wind' has a memorable ceaseless acoustic lick alongside a haunting backing synth melody and slowly spoken vocals that lasts for nine minutes, but is hardly boring during its duration. 'Lakewood' is the most diverse song however, sounding more akin to something cinematic or some countries ethnic music, it has a twisted trumpet riff, tons of percussive instruments and variety of voices and singing to make it one of the albums biggest standouts. 'Old Forgotten Lands' is the most neo folk sounding piece on the album and quite frankly my favorite as well, while 'Death of an Estranged Earth' is similar, although adds more instruments and stretches out to fourteen minutes too. The final two songs are equally good, 'Atop the Mystic Mountain' in particular hankers back to the older OFL's sound of melodic ambient.

All in all, its a bit hard to explain this record in writing, because I can't perfectly portray the sounds herein in that form. It is however enormously recommended to anyone that feels that sort of deep nostalgic yearning inside their souls that brings their minds and hearts to a time and place of long ago, a place they might not even mind escaping to while leaving this modern world far behind. Beautiful ambiance, brilliant acoustic passages and a smorgasbord of other instruments, voices, influences, thoughts and atmospheres take the listener on a 'Primal' journey to Old Forgotten Lands...

Vlad Tepes / Belkètre - March to the Black Holocaust (1995/2013)

When I look back on it all, I suppose it was right at the turn of the millennium that I became rightly obsessed with all things black metal. I had heard the name before, seen photos of the bands, but never actually heard anything or knew anything about what it was all about. I introduced myself to the common bands at the time; Emperor, Dimmu Borgir, Cradle of Filth, Immortal and Satyricon - I knew that I'd come across a genre that I'd love the rest of my life. It was something immensely special and unique and to an extent still very much is today, but little did I know that five years earlier far off in France a group of musicians and bands calling themselves the "Les Légions Noires" or "The Black Legion" had already wrote off modern day black metal as being trendy, fake and essentially dead.

'March to the Black Holocaust' was Vlad Tepes and Beletre's middle finger salute to all the trendies of the day and beyond and they delivered this message with astounding results.

Vlad Tepes

Formed in '92, Vlad Tepes' two-man crew of Vorlok (bass & vocals) & Wlad (vocals, guitars and drums) issued several demos and two splits throughout the 90's before ultimately breaking up in '98 and apparently retiring from the genre forever. The two deliver raw, minimal and highly atmospheric black metal fueled by hate, forged on the standards of the past and a vibe not exactly common these days.

'Wladimir's March' is a short but instantly appealing intro that has a catchy sort of folky or epic lead riff that leads directly into 'Massacre Song from the Devastated Lands,' which is a relentless misanthropic romp of utterly cold sounding black metal. 'In Holocaust to the Natural Darkness' is total Bathory worship that brings the listener back to '84 in mere seconds, while 'Drink the Poetry of the Celtic Disciple' completely freezes my arteries for its twelve minute duration as it moves through speedier paces to gloomy dirges and even some moments of majestic excellence that's complete with thrilling solos and honestly some of the best riffs you'll ever hear in black metal music. No doubt a masterpiece, but what a crime to think that I ignored this band for so damn long! The remaining four songs hardly relent in quality either, especially 'Misery Fear & Storm Hunger' & 'Under the Carpathian Yoke,' which just fucking rip! Notably the entire recording plays out as a rehearsal with each track bleeding right into each other, which is an interesting but quite effective way to not lose the listeners attention for a moment, which is exactly the case with these songs.

Belketre

Originally formed in '89 under the name 'Chapel of Ghouls' and then known as 'Zelda' between '91-'92, the band eventually settled on the name of Belkètre and much like Vlad Tepes released just demos and splits throughout their existence, which came to an end in '96. Similarly a two-man band, Vordb Dréagvor Uèzréèvb and Aäkon Këëtrëh played in several bands in the 90's but quit all activities before the passing into a new millennium.

Belkètre forgoes the obvious Bathory and more active nature of Vlad Tepes' songs in favor of something that's both mid-paced as well as speedy and always cold, very under produced and generally quite depressive and dark in its overall scope. 'Guilty' is just total blackened gloom interspaced with a few moments of merciless hatred, whereas 'A Day Will Dawn' is just malice in audio form, though the production being what it is, its hard to decipher the riffs, but maybe they were not even intended to be heard. 'Hate' is an otherworldly piece intermingled with demonic beast growls that's really unlike anything I've ever heard before, while 'Last Sigh of God' is two minutes of ferociousness. And again the remaining four tracks are all above average, though I'd say that Belkètre's music is less accessible than Vlad Tepes, but my no means bad or anything, its just the embodiment of hate filled raw black metal.

As a whole black metal of this variety will be completely hit or miss with most listeners. There's nothing cute or fancy about these songs, its just black metal played in the truest and evilest manner imaginable. As such, its quite recommended to those that want to see this particular side of the genre performed with absolute excellence.

Mgła - With Hearts Toward None (2012)

I hate the fact that I have to start this review off by admitting to the simple truth that after Mgła (that's Polish language, which is completely insane and pronounced, "mgwah.") released their debut EP 'Presence' in '06 that I completely forgot about the band until more recently when I randomly listened to one of the songs from this album on youtube and was totally floored by what I heard.

The song in question being part III of this seven track album titled 'With Hearts Toward None,' which may very well be one of or perhaps even the finest black metal release I've heard out of Poland.

Essentially a side project of Kriegsmaschine members Darkside (drums) and M. (vocals, guitar and bass) the bands history dates back to '00, though their first notable release was the 'Crushing the Holy Trinity (Holy Spirit)' split with Exordium in '05. From then they'd go on to release a few sought after EPs as well as the full-length 'Groza' in '08 before unleashing their second opus (yep this one) in '12, which as I already stated is quite the massive release.

It would be hard to pinpoint Mgła's exact influences as the band manages to sound rather melodious with their song writing, often times featuring various melodies bobbing about amongst diverse and complex drumming, whilst at the same time sounding about as true as black metal gets these days. With each song consisting of only 2-3 riffs it would seem likely that the songs would have potential to bore, however M. happens to be a riff master and some of his licks are absolutely some of the coolest I've heard in recent memory. Many have this ridiculously catchy glistening sort of vibe to them, whereas at the same time they have that potential to tickle those hairs on the back of your neck with this sense of darkness and twisted morbidity to them. Factor in a visceral vocal delivery, interesting Satanic related lyrics and a strong drum performance filled with steady blasting, creative fills, rolls and military beats and you've got a monstrous album pouring out of your speakers.

Going back to part III, I mean, were talking about a song that goes for the jugular here with two of the most memorable riffs I think I've ever heard, they are both repeated to death during the songs nearly eight minute duration but I'd be hard pressed to say they've even become dull once in the songs dynamic build-up, pace and eventual epic conclusion. Part V has this totally commanding presence throughout the entire song, which makes it a standout naturally, while VI comes off as one of the albums harder hitters with VI, which is also the albums lengthiest song at ten minutes is similar to III in its massive development and just absolutely dominating unmatched quality.

I've only had this record for about a month now and I probably shouldn't jump to any ridiculous conclusions and declare it one of the best black metal records ever to come out of Poland, but to be totally frank with you, 'With Hearts Toward None' just fucking rules. Its in a way quite a simple record, and you could probably count how many riffs are actually in the whole thing, but this to me is black metal delivered in a very special and honestly unique way that I haven't heard before, even though the formula is typical. If you haven't heard it I'd have to advise you to look into it, similarly I'm going to have to get my hands on the remainder of their discography soon.

Sacrificial Massacre - Dry Spells & Serpent Gods (2013)

Sumptuously initiating with the sounds of pounding tribal drum work and indigenous flute playing, 'Ritual A Huitzilopochtli' chimes out of my speakers intensely, before long augmented by the sampled voices of various screams and then diving straight into the powerful opener, 'Deflora La Oveja De Dios.' 'Dry Spells & Serpent Gods' is the debut long player from Milwaukee, Wisconsin based raw orthodoxy Black Metal stalwarts, Sacrificial Massacre.

Originally spawned in '08 by the young A.A.Q. (vocalist/guitarist) under the banner of Mermeroth together with drummer T. they cut the debut demo, 'Nocturnal Processions' in '09. Shortly there after current drummer J.G.M. stepped in to complete this two-man duo, which then went on to record the demos, 'Through Fire to His Grim Idol' & 'Fulfill Thy Cravings of Flesh' in '10 & '11. Since then Sacrificial Massacre has been a regular live band around the mid-west area, often playing all around Wisconsin as well as traveling to the Illinois and Minnesota area too, delivering highly atmospheric and engaging performances.

Lasting forty one minutes and with fourteen total songs, 'Dry Spells & Serpent Gods' delivers raw black metal compositions that are simple and to the point but more importantly on point and amazingly effective in their conveyance. For a band that consists of just two members and two instruments (drums and a single guitar - no bass at all) the sound and atmosphere is immense, recalling the early work of Darkthrone, Horna, Judas Iscariot, Craft and various Les Légions Noires bands, each of these short songs tend to stick out and tell their own tale. The band cites Aztec Mythology as an influence and lyrical theme and it clearly roars out in the three instrumental tracks, though many individual tracks I suspect feature similar themes, though odes to Satan, Lucifer, Iblis (Islamic Devil) and Gaia (Greek Goddess of the earth) can additionally be found.

Already mentioning the opening two tracks and their ability to engage the listener from the get go, the album continues strongly with 'I Bow to None But Gaia,' which has a slow piercing lead riff before blasting into speedier territories near the songs ending, while 'Lighting the Catacombs of the Dead' has an honestly catchy opening riff, which reminds me of Vlad Tepes especially, with the rest of the song moving at a mid-pace the song similarly ends in a speedy fashion, which could very well induce massive foot tapping or sudden air drumming from the listener (well, that's what happens when I listen to it). 'Indivisible from Satan' is the shortest of the black metal songs that clocks in at just a little under two minutes with great pacing, vibe and even a tribal-ish drum pattern towards the end of it, whereas 'Order of the Stone Blade' stands as my personal fav with a menacing lead tremolo riff, it ends with great percussive work, a hugely memorable riff and an energetic flow that can't be topped. The remainder of the songs are all top class too with nothing sounding out of place or being overly long either.

'Dry Spells & Serpent Gods' has a very 'live' or even slightly rehearsal sort of production quality to it, which instantly brings the bands performances back to my mind, this is sort of further enhanced by the fact that many of the songs feature J.G.M. clanking his sticks together at each songs onset. Speaking on that characteristic I wish at least one of the songs would have had J.G.M. announce the songs title as he almost always does during gigs, though this is sort of of represented in the second song by A.A.Q. Nevertheless, the guitar tone is raw, hissy, and as grim as guitars get, which means any and all admirers of the basic and rawer side of the genre should be pleased with this work. Of course, I could be slightly biased in my opinions since I've seen the band play numerous times and these are people I know personally, but either way I wouldn't overlook this release because of these solid facts.

In the end I am quite pleased with 'Dry Spells & Serpent Gods' as its been a regular in my stereo since its release a few weeks ago and I highly anticipate their future creations, which will involve a split with another notably awesome black metal band.

Purchase @ Dread Records