Twenty years? Has it really been that long since Katatonia released the legendary 'Jhva Elohim Meth' demo? Wait, you're saying its been that long since one of the most magnificent careers in (metal) music began? Much to my amazement... the answer is yes! Constantly changing, always something a little bit different, but still distinctively Katatonia on each and every release.
I first discovered the band back in '01 through their then brand new album, 'Last Fair Deal Gone Down.' Initially I didn't know what to make of it. I mean, I liked it, fucking loved it maybe, but it was the complete opposite of everything I had heard out of Sweden at that time. It wasn't melodic or classic death metal, it definitely wasn't black metal and it surely wasn't doom either. So, what was it? Unavoidably I decided. It was Katatonia and it was something different.
Do you remember when it didn't used to be so dark?
Here in 2012 its, 'Dead End Kings,' the ninth studio album from Katatonia. As far as tempo and mood, the album seems pretty much spot on to '09's, 'Night Is the New Day,' with interesting poetic lyrics and well done lead vocals from Jonas Renkse. The riffs, leads and occasional solos feel quite familiar too, with varying levels of heaviness, almost to the point where these songs seem like extras from the last album recording sessions, thus sort of breaking the bands tradition of progressing onto the next thing. Sort of.
What seems clearly different or rather increased is the synth usage. Each and every song has a fair amount of darkly enticing melody running in the background and even occasionally taking the center stage alongside, Jonas. I can't say anything negative about session member, Frank Default's, keys, piano or random weird bits of input, they are generally well done, but it feels like the guitars are scorned in favor of them. Its perhaps the bands calmest and most non-metal offering to date, which can be viewed as good or bad depending on how much you actually enjoy the band.
But, what about the songs then? The second, 'The One You Are Looking For Is Not Here' really stood out as one of catchier numbers from the get go and with Silje Wergeland from The Gathering on backing vocals it makes for a good pairing (note: this is my first time hearing her). 'Ambitions' also has a remarkable buildup to it that gets quite memorable during the chorus, while 'Undo You,' 'Lethean' and 'First Prayer' are a bit similar, catchy. But for how long?
I keep listening to this album, thinking to myself, "Where is the classic" Every Katatonia album has one or more just top notch songs. Forsaker? Leaders? Evidence? Teargas? No, this one doesn't have songs like them. And that's pretty much why I don't enjoy the bulk of it. It all sounds familiar and the only thing to really hook me in is the synth passages or vocals of Renkse, and perhaps its just not the sort of thing I've been favoring in recent times. The guitars even when fully audible don't do much to please either.
I'd chalk that down as being my own fault. An overdose of primal black metal and old school stuff from the 80's for the better part of the entire year will do that. Not to mention I witnessed the band onstage four time since the last album and each and every performance had the same songs, which probably started to ruin them a bit. I remember when this album was released I barely cared, I only bought it because I happened to come across is used for $8.
So, is it a bad album? Well, no, not really it just sounds quite a bit like the last album, though quieter. Nevertheless, its Katatonia; dark, melancholy and catchy, at least initially. I suspect this may be one of those albums I'll randomly re-discover some months from now and appreciate more so, but for now I can only give it a so-so rating and just put some Teitanblood on and be infinitely more pleased.
Originally intended to be released in early 2004 via Niklas Kvarforth's now defunct label, Selbstmord Services, 'Nihilistic Ascension & Spiritual Death' didn't see the dark of night until mid-2006 when Total Holocaust Records finally released it. In an odd twist of fate I actually heard this album roughly three years before its final release. How is that so? Well, back in mid-2003 I had somehow come into contact with Zavorash vocalist Totalscorn (I knew him as Max though). I suspect Niklas had referred him to LH back then since I'd spoken to him a few times, but regardless me and Totalscorn had struck up a mutual internet friendship and that somehow lead to him sending me a CDr of this album (I was later told his bandmates were pissed about this) as well as doing an interview shortly thereafter.
By the time the album was released I believe Zavorash was more or less a done deal too. Totalscorn had moved onto IXXI, Necromorbus continued one of his million projects and I guess guitarist Nil and bassist Gideon just quit music. Nevertheless, its quite a decent album, which probably would have made a bigger splash had it been released shortly after its original creation.
Zavorash stands for, "Za Vorbashtar Raz Shapog," which means The Legion of Revenge translated from the Black Speech of Mordor, a language Totalscorn told me he'd mastered at some point in his life. Despite that connection, this is hardly Hobbit metal, but rather Nihilistic and cold black metal from Stockholm, Sweden.
'The Legion of Vengeance' opens the album in a mid to speedy pace with something of a thrashy undercurrent coming out of the catchy trebly guitars, though midway through a bit of dirge-ish part appears before moving into a purely dark ambient outro. 'Never Blame Her' is full on blasting from the start, cold grim and violent, though again has tidbits of somewhat melodic territory, while 'Isolation Icon and the Blackguard' is considerably slower and doesn't sound entirely different from depressive black metal of the time, Shining or Forgotten Tomb as examples. 'Själslig slutsats' again shifts the tempo quite a bit and brings back the catchy blackened thrash style of the opening track, whereas 'Worthlessness' is a simple but effective neo classical ambient piece.
'Virtuous Hatred' is another blistering fast full on black metal piece with fantastically bleak and menacing riffs, while the remaining three songs are not entirely different, though 'The Conjuration of the Dead God' and 'Truth & Consequence' have some slower and slightly melodic parts to be found.
The CDr Totalscorn sent me actually had three additional songs, two of which were fairly similar, while the final one was a complete oddity. I guess it was meant to be a joke and it wasn't meant to be on the actual album, but Totalscorn included this bizarre techno track he'd created with his own outlandish narration. When I originally reviewed it I made a special mentioning of this and more than likely doomed the band right then and there. I also have a funny memory of being completely stoned one afternoon and leaving this entire track on my buddies answering machine. He wasn't pleased. Ask me to play you it sometime. Totalscorn was a genius.
Musically Zavorash wasn't that unique or different from many of their Swedish contemporaries, often moving between blasting parts and depressive slower sections, but what made them absolutely unique was Totalscorn's vocals. He sang his lyrics in a croaking sort of Abbath-ish froggy tone while occasionally offering spoken parts and cleaner verses. The spoken and cleaner parts were interesting since he'd often use a variety of voices, which never really made it sound like the same person, but I suppose if you have any experience with IXXI you'll have an idea of what its like. His lyrics were quite detailed and unfolded as intellectual hate sermons often with themes around nihilism and various short comings of humanity. He even sent me a PDF file of all of them back then. You bet his bandmates were pissed.
'Nihilistic Ascension & Spiritual Death' is by no means a must hear recording, but I'm sure several copies of it are still floating around out there in some distro and are probably available for less than $10 too. If you happen to come across it give these guys a chance, because no one really ever did. With the music being decent enough, loud and properly produced and with great words to go with the album I'd say its worth forty four minutes of your time.
The first time I heard Summon, the blackened death thrashers from Lansing, Michigan, was about a decade ago at Milwaukee Metalfest. I remember not having a clue who they were, but being quite impressed by the energy and tightness of their set, and that's notable since Metalfest was infamous for its horrible sound. Putting in my own time headbanging and cheering I finally took it upon myself to ask who they were, and got a response from a mostly drunken metalhead that went a little something like, "This is fucking Summon, you mother fucker!" And I made sure to buy their album soon as they finished.
Summon's history can be traced as far back as '91, though from '92-'94 the members were also involved in the legendary Masochist, and as a result nothing happened with Summon until '95 when the 'Fire Turns Everything... Black' demo surfaced. I'll admit the first three albums released by Summon didn't do much for me, I remember them being muddled with production mishaps and sometimes really dull song writing, but by the time they released 'And the Blood Runs Black' they'd inked a deal with Moribund Records and put together one hell of a dynamic and hard hitting album. As much as I enjoy that one their fifth and final album, 'Fallen' is Summon at their finest.
Of these sins I have become
This release continued to solidify the band's status as one of the better exponents of the black-death thrash metal sub-genre, at least here in the US. Every one of the songs on this album is played at a very fast tempo, with great black metal style shrieks, vicious and precise riffs, awesome drumming and an overall feeling of energy that few other thrash bands can match. A fair but not exactly spot on comparison is Absu's masterwork, 'Tara,' since both album are overly energetic, tight and technical, catchy and downright fucking destroy everything in their paths. Also this is pretty much the type of music I'd like to create with a few a buddies providing the chance.
Most of the songs are in the 03:00-03:30 range which in my opinion adds to the value of this album. Summon comes, conquers and says fuck you all in a mere thirty five minutes. Thrash songs are not suitable for the most part for extended length pieces, beacuse the riffs and the chorus sections would be too repetitive (Dark Angel's 'Time Does Not Heal' is a prime example). The tenth track titled, 'Loud As Hell Fast As Fuck' is probably the most old school thrash song you will find here, though its also the weakest because it completely breaks the formula of the rest of the album, even going so far as to use entirely clean vocals. Songs like 'Mindrot' or '...Of These Sins' are more representative of the overall sound and characteristic of this CD, since it has more tempo changes, more powerful blasting and great riffs.
You should not expect any of the features sometimes found on black/death albums though, such as, long introductions, acoustic passages, soundscapes and interludes. This is a very direct, in your face and aggressive slab of metal that tries (and does) very hard to leave you senseless and at the same time energized for more, so it all makes for a very enjoyable listen with just the right amount of songs and overall time duration to it's credit.
If you enjoy blackened death-thrash metal that sounds very fresh (yet old school in spirit) with no compromises on the overall performance as well as superb sound quality, then by all means listen to this CD. Its been one of my favorites since its initial release and continue to pummel me with each subsequent blasting.
Unfortunately, Summon broke up right after this album, which I remember being pissed off about since I didn't get to see them again, but they have reformed in 2010, yet without original member Sean "Xaphan" Peters, which makes it not exactly the same. Whether or not a new album is on the horizon is beyond me, but if not I'll surely be continuing to play this one for many years to come.
My chosen line of work dictates me to not have much of a social life and as such when a good gig comes around I try my best to attend. I don't get to see them all, but that's the life of a nocturnal shifter, I suppose. This however happened to be a gig I was not just interested in from the start, but by purely miraculous circumstances I had the night off, which meant I was not just able to attend, but to make the best of it. With ancient cult 80's thrashers, Morbid Saint, making their comeback in recent years I was hoping I'd be able to see them eventually and this happened to be their first performance in Milwaukee in about eighteen years. Of course, it must be understood that the band broke up nearly two decades ago, but the power of metal compelled them and the wheels of revival were put in motion in '10 and in the past few months the band continued their live activities.
Joining Morbid Saint for this gig was Cannabinol Synapse, Subjugation, Atrum Inritus and Architects of the Aftermath. My friends and I arrived just in time to miss Cannabinol Synapse though, which is regrettable, because I'm told its 70's style soundtrack music and if its anything like Goblin or Fabio Frizzi I probably would have had a moment, but that will have to wait for another time.
Subjugation:
Therefore, the first band I witnessed was local Milwaukee black metal act, Subjugation. This four piece band has been around a few years now and are fronted by, Jason, a well known fella from these parts whose known for his work in a few bands as well as being a promoter of many cool gigs. The band also features one half of Sacrificial Massacre, namely their drummer, Joe, though here he handles all guitar duties. I'm not sure about the bassist and drummer, though its entirely possible that they are involved in other bands too.
Since this was both my first time seeing and hearing Subjugation (they have no demos or alums yet) I didn't really know what to expect, but I was pleasantly blown away by their set. The band played a sort of black metal that's raw, chaotic and speedy in nature with some minor punkier chords and harshly screamed vocals. The band is by no means the most showy black metal act I've seen live, opting to not wear any paint or spikes, but they brought a good measure of rage and anger to the stage that pretty much instantly connected with me. As I said earlier the band doesn't have any material out just yet, but I hope that changes soon as I'd like to see what they sound like in the studio.
The band only played about six songs, but it seemed like plenty of time to get their message across - whatever that may be. Satan? No, probably not, but that would change by the time next band was up.
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Atrum Inritus:
Hailing from Minneapolis, Minnesota, this five piece band formed back in 2010 and just a little over a year ago released their debut, 'Prognatus In Vorago.' I often am instantly a harsh critic of all things Latin, because it just seems cliché through lyrics, album titles, band names and imagery, but fortunately this was a case of it feeling quite appropriate, both through their occult imagery and twisted dark sound (go read my Funeral Mist review for my thoughts on Latin). And not to forget simply because after finishing I pretty much just stared almost speechless in owe of what I'd just witnessed. Google translate tells me that Atrum Inritus means, 'dark void,' and if that isn't the perfect way to describe their music than I don't know what is.
Clad in ceremonial robes, the stage lights were quenched and candles were set ablaze as incense filled the room and the ritual began with a cold wave of frigid darkness emitting and cloaking Frank's Power Plant. Atrum Inritus play a sort of boreal dissonant black ambiental metal somewhat comparable to the likes of Paysage d'Hiver, Blut Aus Nord and Xasthur (I guess, comparisons are hard to make), though (I suspect) with lyrics centered around Satanism and occult practices. Through the faint candlelight, frontwoman, Vindicaré (also keyboardist) appeared as a specter within the darkness, croaking and howling in a fiendish and serpentine manner I can't say I've ever heard a female perform previously. Alongside her terrifying shrieks and haunting synth chords, two guitarists played slow bleak hypnotic riffs, occasionally augmented with a little speed, while the bassist and drummer steadily followed. Quite a stunning and gripping performance. Other black metal bands should be jealous. Hope they took notes.
I don't suppose a lot of the crowd 'got it,' but then you'll have to consider that fact that a good portion of the crowd were thrashers. I turned to my friends to hear one of them say, "That was the worst thing I've ever heard in my entire life," but then again they don't listen to black metal either. Nevertheless, Atrum Inritus made quite an impression on me and I was quite happy to find that they had their debut album for sale, which I picked up and can also report is excellent, though I'll get to reviewing that later. The dark void is open.
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Architects of the Aftermath:
Local thrashers, Architects of the Aftermath were up next and with the lights back on and spirits and alcohol levels higher for most folks, these guys were in fine shape and delivered another great performance. AotA play fairly standard hard hitting energetic old school thrash, and although its hardly anything new, the members happen to be quite gifted musicians, often slamming out many catchy and killer riffs as well as a good face melting solo per song. The band (I believe) played all of their one and only self-titled album from a few years ago, as well as a Hammered cover song, which is a band rhythm guitarist Mike played in before the AotA days. This being the third time I've seen them it was more of the usual, but enjoyable all the same. My alcoholic levels were not as high as usual, but it was still fun being one of about five people moshing and causing trouble while they thrashed around onstage. But, come on guys, we need a new album!
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Morbid Saint:
Not a lot of younger fans will understand their importance, but Morbid Saint is one Wisconsin's oldest and appreciated bands, having formed as early as 1986, they helped shaped the Milwaukee metal scene in those days, which lead to the first and legendary Milwaukee Metalfest (many more would follow too). In 1988 the band released their one and only album, 'Spectrum of Death,' which was a high octane thrash classic comparable to Possessed in style, though it was released on the tiny Mexican label, Avanzada Metalica, and as such was overlooked and forgotten by most. Morbid Saint would go on to release the 'Destruction System' demo in '92, but would crumble by '94.
I personally first became aware of the band a few years ago when the reunion began to take shape and was quite moved by the album, especially since it was created in my home state. Unfortunately, the album was very much out of print and I've had to rely on mp3's or youtube videos to please my hunger, though just recently the band self-released a three disc set called, 'Thrashaholic,' though I still haven't yet got my hands on a copy...
So, this was Morbid Saint's first gig in Milwaukee in quite a long time, unfortunately problems seemed to exist from the get go. For one thing they were down a guitarist, which instantly altered the sound of the songs since they were all wrote with two guitars in mind, though I'm sure Jay Visser did the best he could to recreate the songs with just one ax. That aside, problems continued through the bass guitar either being overly loud (at least from where I was stationed) and drowning out the guitar or it was cutting in and out during their set. Nevertheless, the band forged onward.
What can I say though, for a bunch of guys in their early to mid-40's they really knew how to deliver. I didn't get as crazy as my buddy or some surrounding people were getting, but it was entertaining watching them and the passion that ripped out of them as Morbid Saint thrashed 'til death. The band played a number of songs from their two notable releases, including, 'Lock Up Your Children,' 'Beyond the Gates of Hell,' 'Sign of the Times' and newer songs, 'Death Before Dawn' and 'Thrashaholic.' Despite the audio problems it was quite enjoyable and at least by the last couple of songs I finally got into it a bit more and joined the enraged fans upfront.
A lot of people may see the bands reunion as nothing more than a mid-life dazzle for the members, citing them as nothing more than hasbeens, but since they played honestly and tore it up you wont see any complaints from me. Also, simply because it helps reunite the scene around here that seemed to totally crumble when Metalfest fell nearly a decade ago. Likewise, I foresee our little scene around here growing and its nice to be a part of something special like that.
Its my hope that I can catch the band again, though hopefully with two guitarists and minus any audio issues. Keep on going guys!
I'd almost forgotten about this album. And this band. Scott "Wino" Weinrich's budding first band, The Obsessed, from Rockville, Maryland. Formed as early as 1976, The Obsessed, along with Pentagram were the earliest music makers influenced by the glorious and still unmatched original sound of Black Sabbath, yet they remain something of an enigma amongst most metalgoers. Legend speaks of an unreleased album from '85 that was intended to be released on Metal Blade, but this never came to pass. Therefore, Scott joined as vocalist for Saint Vitus the following year on their massive, 'Born Too Late' album and I can imagine as a result The Obsessed hit the back burner for him. Mr. Weinrich spent the remainder of the 80's with SV before departing in 1990, and that same year the elusive record from '85 surfaced and in '91 the bands following album, 'Lunar Womb' was released, which I can guess probably feels more like the bands true debut.
But, getting back to my opening statement. I'd almost forgotten about these fellas. That was until back during the summer I happened to pull out some old 'Drinking compilations' I'd put together back in '00,' and when 'Inside Looking Out' suddenly came out my speakers I had a rapturous flash back to this bands greatness. Getting back home I realized I'd sold this album, most likely mistakenly during one of my music cleaning binges. A quick trip to eBay and I won the mother fucker for a whole $2. A week later The Obsessed was back with me. All was grand in life once again.
'Incarnate' is a Posthumous compilation of rare and demo tracks that span from the years of '83 to '94, when the band quite, again, but nowadays they are back, though mostly just out playing live.
The Obsessed in '83
The Obsessed developed out of the DC hardcore scene in the late 70's and early 80's, fusing that rougher sound with Black Sabbath inspired riffs/groove and just classic rock n' roll energy, rather than the sluggish paced gloom that bands like Trouble and Saint Vitus would become known for by the mid/late-80's. The sounds presented are basically divided in half. The three song 7" EP from '83 features a fair mixture of that early 80's hardcore sound with the band's heavy trademark doom metal riffing, totally underground and raw in its delivery, its likely to sound odd at first, but it grows on you. The remaining songs are lifted from a 7" from '94, as well as various demo material recorded between '91-'94, surprisingly well produced too. This material drops the hardcore influences for just pure rockin' traditional doom metal.
'Inside Looking Out,' a cover of The Animals' classic from the 60's is simply immaculate. Its amazing to me how Wino transformed this piece into a lengthier doom metal masterpiece that simply puts me in a state of utter bliss every time I hear it. I mean it, seriously, if you want to see some of the most soulful air guitaring of your life just play me this song. Fortunately Wino provides the real guitar work and its something to behold. Old school, weird at times and even a bit sloppy, but so, so good in its massively heavy dooming glory. The man's song structures are all over the place, riffs come and go almost carelessly without much concern towards verses or memorable chorus', but the songs are not ridiculously long and everything is quite focused and tight the whole way through. Confused? You better be. You've got to love his voice too, just a totally bourbon soaked delivery that's unmistakably unique.
A lot of other great songs grace this comp. too, such as 'Yen Sleep.' 'Concrete Cancer,' 'Streetside' and 'On the Hunt,' which is a cover and doomified version of the Lynyrd Skynyrd oldie. For demos they are way above average and its just a shame the band feel apart before they could be properly recorded. Generally the whole thing is a pleasure though, and I seem to always find myself enjoying a few beverages while embracing music of this variety. You should too.
'Incarnate' is a fine introduction to The Obsessed and really just that classic traditional doom sound if you happen to be unfamiliar with it. Perhaps, I should do the logical thing and finally pick up those old full-lengths from The Obsessed and see what sort of awesomeness I've been missing out on!
This is going to be a bit of a shorter live review since I have a slight hang over and will eventually have to go by the parents for turkey feasting this afternoon, thus going back to bed seems favorable at the moment. However, since all three bands that played were quite good it seemed best to give them a little shout out, even though they are just unsigned bands from my neck o' the woods here in Wisconsin.
Firstly, the gig was held at Frank's Power Plant, which is a long running and rather cool bar in Bay View, Wisconsin that has a lot of themed nights, most notably a Monday metal night where some rad dudes bring their records and spin them for us boozers. Unfortunately, I very uncooly almost always work Monday nights and miss out on all the fun, but hopefully I can remedy that situation soon. Anyway, Frank's isn't the biggest bar in the area, nor is the stage or the sound, but it certainly works and its generally a pleasure attending gigs here. In fact, I'll be back there on Saturday for another massive gig.
Gravedirt:
Up first was three piece band, Gravedirt, which at least for this show featured Mike from Architects of the Aftermath as guitarist. These guys play absolutely soul crushingly heavy doom with both slow dirge parts that have tons of feedback and droning qualities as well occasionally the music shifts to more groovy and catchy territories. A superb set! I'm not sure if Gravedirt has any recordings available just yet as I believe they are a relatively new band, but they are certainly on their way to something great. As a side note, I was told the band is seeking a full-time guitarist so if anyone from around here is interested definitely get in contact.
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Asatta: Five piece band, Asatta, brought more heavy doom with a bit of sludginess to the crowd. The singer, had a lot of effects placed on his voice during the cleaner sung parts, which was a bit weird, though he also did some occasional screams to toss it up a bit. The band also had a synth player, though her input seemed to be minimal and only audible at certain points, but I have a feeling it would sound interesting on a studio recording amongst such rumbling sloth-ish heaviness. Generally enjoyable, though sometimes bands that play so slow can lull you a bit, especially during longer sets. To my knowledge, Asatta, only has a four track self-titled album available, which I'll have to listen to later on.
Mooncurse: My friend had warned me of Moon Curse's awesomeness before this show, and man was he ever spot on. This three piece band played mostly straight forward traditional doom metal that was both heavy and crushing, but also rifftastic and headbangable in its delivery. Moon Curse recalled the best parts of Saint Vitus, Pentagram and Black Sabbath in one glorious and highly entertaining package, though their album also features a Hammond organ, which gives it a bit of a psychedelic vibe, though that wasn't heard during this set. Generally though if you like heavy doom with superb musicianship, great vocals and tons of fun than you'll want to listen to these two guys and one gal. Check 'em OUT!
Back in 1989, the Canadians in cult act, Blasphemy, released a demo titled 'Blood Upon the Altar,' which laid the groundwork for a small sub-genre called, War Metal. Essentially a barbarous mixture of black and death metal, raw and utterly relentless in its execution, with lyrics devoted to Satanic principles and Anti-Christian hate, war metal was also known for its members having extreme appearances and equally extreme and long stage names.
Despite still existing, Blasphemy only released two albums in the early half of the 90's, but many bands followed in their footsteps, most notably Finland's Beherit through their album, 'The Oath of Black Blood' in '91. As well many other peddlers of bestial destruction have ravaged ears and stages alike, such as; Revenge, Conqueror, Black Witchery and Goatpenis, all who have carried the flame set by Blasphemy over twenty years ago. Proclamation from Madrid, Spain are one of the newer torch barriers, having formed in '03 and with three demos, one split and four albums behind them they are on course to winning the war.
Commanding the legions over skulls and bones
Here on their third album, 'Execration of Cruel Bestiality,' these Spaniard's deliver authentic and true war metal in that classic and now vintage style of Blasphemy and all that came after them. Opening with an instrumental, 'Prayer Of The Fallen (Intromancy),' which is fifty six seconds of demonic chanting, the band rips into 'Witching Torment,' and the beastly raid begins. Almost instantly the listener is greeted with merciless drumming, ripping chaotic guitar work and brutish inhuman growls.
The production is noticeably raw, in fact rehearsal or garage-ish would be fitting, and so utterly filthy that it leaves you clammy and gross by the time the album expires. The production is also thick and rumbling with all instruments being tortured as far as possible. Utterly deranged and disjoined with violence, Proclamation deliver hateful vibes in a way few others can, and with the only breathers being some short instrumental ambient parts at the end of some songs you know you're in for a hellish romp. Ten songs grace this album for a total of twenty nine minutes, which may seem short, but its more than enough time for these guys to step in and do what they do and leave you demolished.
Proclamation isn't for everyone though, especially if you desire melodic qualities in your music, because they simply don't exist in war metal. I'm a sucker myself for melody, but when I need a quick dosage of pitiless brutality I'll surely be pulling this album off my shelf.
Two Thousand and three, buried but still breathing, The Cold Beyond was lowered into a shallow grave. Entombed and by most accounts forgotten, while by others considered a relic of Milwaukee, Wisconsin's black metal past.
Six years of dead silence would pass before the corpse of this black soul would writhe and pull itself from underneath the soil and once again walk the earth. Three additional years of staggering care would shape up well and on October 27th The Cold Beyond stretched and reanimated its once atrophied limbs fully. The dust was brushed off and the screams and torment were heard once again through both the bands first live performance in twelves years as well as their first musical document in nine, namely the, 'Forever Burning' EP.
Emanating, '...And Then The Darkness Came,' with a solitary melancholy acoustic melody paired with light drumming the stage is set, and soon enough an incising electric riff appears and this beastly carrion of grimness speaks its first words in years. Shortly thereafter the music grows dramatically in speed and vocal intensity, while still keeping an underlining sense of austere grief within the violent hostility. 'To War' begins as a more destructive and speedy affair, initially, but gradually moves towards a dissonant, slower and hopeless feeling with lone string strikes, it eventually erupts into a calamitous piece of black metal artistry.
'Charred' starts with a simple drum intro followed by a hellish scream, before moving in a desolate and sluggish pace the music once again shifts to a purely acoustic melody for the next several minutes with cascading drums following. Although gaining in its intensity, the song never rapidly breaks into speedier territory, but rather into a barren dirge of desperate savagery to its end. 'A Grim Silence' closes out the EP as a simple but very effective and atmospheric instrumental piece.
'Forever Burning' has a very organic and quite simply put, live production. What I hear on this EP isn't entirely different from what I witnessed on the night of this EP's release, which is quite interesting. Nevertheless, it should be understood that the production is underground and black metal in style with raw guitars, loud drums and no bass guitar, though I'm personally of the opinion that some creeping bass licks following the guitar wouldn't be a bad addition at all.
Generally 'Forever Burning' is quite entertaining and through the production and ever shifting musical pace it does have a special quality to it. It did feel like the EP required several listens and sometimes under the right mood and setting, in my case, it all clicked while listening to these songs while hiking through a forest just as the sun was setting.
This EP can in a way also be observed as a demo of sorts as all of these songs are planned for re-recording on the debut full-length, '...And Then The Darkness Came,' though what they've given us so far is pleasing and I look forward to said debut in 2013.
All bands have there primordial roots of ancient rumbling noise before going on to bigger and better things and Ulver's happened to be in 1993 through the cassette demo, 'Vargnatt.' Ten years after its initial release, The End Records re-released it through their Infinite Vinyl sub-label in 10” white vinyl format limited to 1000 hand numbered copies and re-mastered with additional photos & artwork as well as a little write up from Chris Bruni (Brave Words Bloody Knuckles). Ulver’s line up in '93 was Czral (Drums), Garm (Vocals), Haavard (Acoustic guitar), Mean Malmberg (bass) and Grellmund & Reza on guitar, they were all likely between the ages of only 17-19.
The wolves in '93
'Vargnatt' was recorded in October of '93 and released a month later. For its time it was an absolutely unique entry in the still young Norwegian black metal scene as it sounded nothing like Mayhem, Burzum or Immortal, in fact it could be viewed as one of the earliest mishmashes of black metal and folk music, which would only develop more so on their legendary debut, 'Bergtatt.'
Through the first two songs, 'Her Begynner Mine Arr...' and 'Tragediens Trone' my ears are treated to both raw scything guitar tones as well some melodic cleaner parts, audible bass, unusual drumming, backing acoustics and rather interesting vocals that appear in both a croaky demonic voice as well as a cleaner sort of weeping howling delivery that even sounds special nearly twenty years later. 'Trollskogen' is a full on acoustic piece, not unlike many that would appear on the bands second album, 'Kveldssanger,' although this one does have a similarly underground production, which makes it sound very alive as it spins on my turntable.
'Ulverytternes Kamp' opens with some beautiful acoustics and light percussion when before long the same menacing riffs, creeping bass, diverse drumming and vocals rear their ugly heads, while 'Nattens Madrigal' opens more hazily, almost dreamlike in its delivery when soon enough the song gains in pace and even features a solo near the end, as well various chaotic acoustic zigzags are all over this one. 'Vargnatt,' the final song, is all over the place; with moments of fast drumming, crazed guitar work, frantic acoustics and both the croaking screams and a more whispery delivery.
Even re-mastered 'Vargnatt' is quite raw and its one of those recordings that really just forces you to turn the volume up loudly so you don't miss anything, and that's just one of the things that makes it so interesting, because so much is happening in these songs. Generally speaking though, try and imagine a quieter version of the bands third album, 'Nattens Madrigal' mixed with the acoustic and more melodic qualities of both 'Bergtatt' and 'Kveldssanger' and you'll have some what of an idea on what this demo is like. I wouldn't go so far as to call it essential listening, because its very irregular artistry, but it surely is interesting hearing what is most likely the first black metal recording to feature an underlining folk presence.
This LP has obviously been sold out for years and often goes on eBay for over $50, which I guess makes it one of the rarer items in my collection. Fortunately in '09 Kyrck Productions re-released the demo once again in CD format, but still limited to just 1000 copies. Assuming its not already sold out, you'd best hurry if you want one!
It may come as a surprise that a 'zine that has semi-frequent alcohol reviews would also suddenly have an article on the gym, but if honesty must be spoken, than I can admit to the fact that I've been a regular member of local gyms for years now.
There's tons of reasons why I do it too. Firstly and obviously for the simple health reasons involved. Somewhere within my twisted psyche I've got an image in mind of what I want to look like, and although I've come close I'm still not where I want to be. This is largely because of my usual alcohol consumption, but also because my diet isn't exactly perfect.
Why you ask? Seriously, sometimes I don't even know myself. I'm hardly a social person and working the nocturnal shift at my job means I rarely get out that much, but maybe it just has something to do with making a good impression on people or some sort of silly desire to look more manly. However, I don't want to throw that word around because that's really not a word I toss around often. Mind you now, I'm by no means trying to look like some sort of body builder or physical phenomenon, but just simply a healthy decent looking dude. I think.
A winning combination
Another aspect of it all is its insanely therapeutic for me on a personal level. I was blessed/cursed with a semi-coherent brain and as Lisa Simpson once pointed out, "As intelligence goes up, happiness goes down." That's not to say I'm a mopy turd, but I often feel as a result of my own gained knowledge that its made me reflect quite harshly on my fellow humans who shamelessly flock to the most retarded attractions life has to offer. Combine that with the average humans intolerable laziness and greed and you can probably imagine the way I see most. Therefore, I'm generally filled with hate, hatred like you can't even believe or understand and I've often tongue-in-cheekly made the comment to friends, family, co-workers and strangers alike that I'd probably relentlessly massacre the idiot masses' if I didn't have an outlet for my frustrations. The way I see it some people scream into microphones and play instruments violently, some play video games, some drink themselves stupid, some watch movies and some just don't do a damn thing at all. I do two things. I lift weights and listen to heavy metal. And it works even better than you'd expect.
This is something I've been thinking about writing about for a long time as both visiting the gym and heavy metal have been a huge part of my life. Although I've been doing both since my early teens, the former didn't become a more serious activity until five years ago when I suddenly felt the inspiration to bulk up from my skeletal frame. In the time since, I've managed to put muscle on my body and increase my weight, though I still don't feel I've reached my true goals. Over the years of doing this certain songs have been regulars while doing my thing and that's the point of this article - To share songs that get me energized and pumped. Corny? Maybe, but the next time you catch a mirror reflection of your beer gut and triangular bologna tits do write to me and tell me how you enjoy them and the way they look on you.
I'm sure writing suck things may also make me sound like a totally cocky bastard, but that's really not the case. In fact, for me its been a constant struggle for clarity and meaning within my life and generally just a good reason not to end it all when the shit hits the fan. I think through my vigorous routines and everything that comes out of it after a while is one of those results that keeps me going.
Below I've picked out a selection of favorites, said what needed to be said and even posted a youtube video for you to check the songs out.
So, gather 'round all you fire-starters, whirlwind reapers and comet riders, as I give you my songs for the gym!
Absu - Pillars of Mercy:
Back sometime in 2001 I was introduced to the blackened thrashers of Absu through their now landmark and utterly devastating fourth album, 'Tara.' The second song on the album, 'Pillars of Mercy' is by far one of most energizing and crushing songs ever composed and with all honesty a regular song I've started most work outs with over the years. In my case, I don't immediately go to the lifting, but rather start out with some sort of cardio warm up and this is the one to kick things off with. Opening with a Proscriptor drum roll, the song instantly blasts onwards with a catchy and heavy lead riff before turning into an all-out killfest of immense riffing, technical drumming, violent raspy screaming and a furious onslaught of endurance like nothing before it. This is one of those songs that picks me up under almost any mood and instantly charges me up and prepares for some sword slashing maiming action (well, I can imagine at least)!
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Cobalt - Ulcerism:
Its unfucking real how pumped I get listening to this song. Goddamn spectaculor song. See, I love it so much I can't even spell my words correctly. Fuck! 'Ulcerism' from Cobalt's second album, 'Eater of Birds' is all that and some more. Opening with a charging riff, galloping drums and growled vocals within a few seconds the song absolutely explodes with insanely driving riffs and beastly screams for the next few minutes before cooling off, but that's not to say the song dies, oh no. It slowly hikes along, slowly building in power to eventually unleash one final pulverizing volley near the ending. Truly, one of my top songs since its release a few years ago.
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The Crown - Rebel Angel:
The Crown was (and still is) all about in your face, fucking pissed off, Satanic hailing, Jesus bashing thrashy death metal and on this particular song they pulled it off flawlessly. Maybe its the balls of fire whirl that it brings with it, the angry vocals or just the brilliant lyrics, which I can personally adhere to quite well. Either way, 'Rebel Angel' is one of the best ever and the only true way to live life. "Call of the devil, follow the devil, fall like an angel, rise like the devil!"
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Down - Lifer:
By now you're most likely warmed up, heck you've got Hell running through your veins, and let's keep things right on rolling! Slowing down the tempo a bit and completely switching sub-genres at this point the southern metal grove of Down just never fails to deliver. Between the catchy lead riffs, Phil's always passionate singing and enough bulldozing force to knock anyone and anything in your path out, 'Lifer' is simply fantastic and one of Down's best.
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Amorphis - Against Widows:
Let's be fair here for a second. I could probably pick about fifty different Amorphis songs to list here and I can openly admit to having many work outs based purely around their music, but amongst my many favs 'Against Widows' from their masterpiece 'Elegy' just sticks out the most. Oh man, those driving folky lead riffs filled with so much life and character never fail to deliver, and the buildup and eventual scream right before the solo always, always seems to get me pumping my fists. This is one of those songs where you'll look across the gym and see some tall long haired, heavily tattooed rocker dude taping his feet like mad while delivering some of the best air drumming and guitar this side of hell. That'd be me and I do it without regret or any embarrassments whatsoever. Hail Amorphis!
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Black Breath - Fallen:
What was I saying about air drumming and such...? Oh yeah, this is another one of those fist pumping "scene" makers for me, which has hopefully scared one too many jock bro dickbags away from me while I do my thing at the gym. Naturally, I couldn't be happier with such results either and with the full throttle mad fury that Black Breath brings with this one I'm surprised I haven't yet started a mosh pit amongst my fellow lifters. What can I say though, for almost four minutes these guys bring unchecked vigorous violence through classic extreme metal riffury with relentless underlining breakneck hardcore punkiness like I've never felt before. Likewise, I could list several other songs from their monster debut, 'Heavy Breathing' and the impressive follow-up, 'Sentenced to Life,' but this is the one to really fuck shit up with!
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Celtic Frost - Jewel Throne:
Few things are any better than Celtic Frost's 'Morbid Tales,' except for the band's own follow-up, the legendary 'To Mega Therion.' Picking a song from this beast is a bit of a challenge, but I suppose you can't go wrong with a song like, 'Jewel Throne.' I love the way this song starts out mid-paced, catchy and undeniable awesome with some of the most colossal riffs ever created, but just unleashes into pure metal craziness by the middle and eventually returns to its calmer beginnings by the end. A true headbanger right here, which I haven't done just yet at the gym, but you can blame that on the fact that I keep my hair tied back and usually wear a bandana too. Someday.
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1349 - Sculptor of Flesh:
"Do you hear them calling... FROM BEYONDDDDDDDDDDDDDD!!" And with those words, the Devil's bastard sons of pummeling black metal wickedness switch gears to blackened thrash and for just a little over three minutes, 1349 bombard with memorable demolishing lead riffs, fiendish screams and trouncing drum work like you wouldn't even believe. Raw, brutal and absolutely one that's likely to send a psyclonic blast through the jiggly fat man's guts next to you, 'Sculptor of Flesh' just kills!
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Dissection - Unhallowed:
Much like Amorphis, its hard to pick a favorite from Dissection, but ultimately the malevolent blackened chaos that is 'Unhallowed' rules amongst the rest. This however is the sort of song I pick when a mood of intense anger finds its way into my system and as I've already explained above I'm often lifting with hatred in my heart. The turbulent flow of this song is simply brilliant, from the early lambasting malice to the songs more melodic qualities its simply a song filled with so much spirit, drive and wickedness that it tramples like a roly-poly fatty gorging themselves on left over birthday cake. Those riffs, fucking breathtaking and the drumming is just immense and Jon's lyrics and vocal delivery are brought with so much creativity and passion that few songs can convey a similarly dark yet still energizing and evil presence.
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Deströyer 666 - The Calling:
I could, and probably should, just say listen to D666's 'Cold Steel... For an Iron Age' while working out, because the whole album is a sonic pounding of metal perfection, one that I've included in many a workouts, one that I want to represent through tattooed form on my arm, YES, come and heed the call, this is fucking it! Starting out innocently and calmly enough, 'The Calling' seems tame at first, but it gathers in pace and explodes around the minute mark with a squealing solo and then chugs along as undoubtedly one of the most empowering, memorable and utterly kick ass songs ever created. Not a moment is wasted, not a single lyric is lame, this is absolutely music at its best right here!
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We've come to end, and yet there's literally tons more I could post, thus consider this just a beginning. Its my hope though that some readers use these songs for their work outs, be that in the form of lifting, running, hiking, boxing or really anything physical involving that you can think of. If nothing else, they are indeed great songs to at least start the day with on a charged up high note!
A friend of mine who spent her first twenty five or so years of life here in Wisconsin before moving to Finland and marrying a Finnish drummer said to me last summer, "Finland is a lot like Wisconsin. There's lots of forests, lakes and everyone drinks!" Two visits to Finland the last two summers proved that she was indeed correct. Here in Wisconsin we've got plenty of forests, lots of lakes and there isn't much to do, therefore the whole lot of us drink our worries and monies away with alcohol. Of course Finland is a bit more purdy and there's probably tons more to do, but I think its an interesting and mostly true comparison. So, maybe I was meant to be there, or to stay here, I just don't know.
I have no idea why I've got Finland on the brain, especially since I've got Snowdrift Vanilla Porter in my glass, which is from the Jacob Leinenkugel Brewing Company, one of many breweries in Wisconsin and likely one of the first beers I got completely shit faced on years ago. My only regret at the moment is that its not snowing outside, but at least it sure is cold. Enough, time to drink!
Snowdrift Vanilla Porter pours out a dark brown, almost black-ish, reddish tint with a thick tan head that happened to have slush atop it since I mistakenly left the beer in the freezer to cool, but that seems irrelevant since were talking winter brews here. With a scent of vanilla, coffee and a little chocolate this promises to be grand. The first swig reveals the deep and sweet vanilla taste I'd hope for as well as a bit of milk chocolate, roasted malt and just a slight case of bitterness. Another pour down the gullet is just as tasty, in fact quite wonderful and honestly delicious. This is one of those beers that's disappearing from my glass quickly and thoughts of having another are already entering into my mind. Mmmmmm, gosh darn that's good... Just total lip smacking vanilla deliciousness here, friends.
I suppose I don't have a whole lot of experience with porter's to really say if there is anything that truly stands out here, but considering I just paid $6.25 for a six-packer that seems like a darn fine deal to me. Each bottle is also 12 fl. oz with a 6% ABV, which is a little bit more than the average Leinenkugel's product, but don't worry that little bit of extra zing will just keep you warmer this winter. Fuck hot chocolate! I think Leinenkugel's is mostly common here in the mid-west of the USA, but if you can find this one somewhere else definitely give it a go.
All in all, quite excellent and truly one of Leinenkugel's better brews. Bravo Jacob!
This is an interesting release from Italian artists Neronia, a partnership involving the Canaan members Mauro, Andrea, Nico, and Teo, with Gianni and Alberto from Colloquio. If you have ever heard works from Canaan then you'll quickly get a picture of what these songs are about. For those who have not, the best way I can find to describe the experience is one of those scenes on TV or a movie where you see a diver get into the ocean, watch the immediate change of surroundings and then seeing and feeling the watery world where its calm, there is sunlight filtering through and everything seems to be moving at a slower, more gentle pace.
The music in itself is not by any means just simple moody or ambient tones. To the contrary this album reminded me so much of the second part of Tiamat’s amazing Wildhoney. If you remember that disc, that was the moment when the Swedes made a left turn on their black/doom approach into a total never-to-return-trip.
One of the most interesting things about this album is how the songs seem to be much longer than what they are. Every song seems like a 6 to 7 minute affair and the longest one clocks in at just over 5 minutes. I firmly believe this is one of the purposes of the band's approach, to create a mood on the CD where the listener will be engulfed and slowly swallowed.
Because of the synths and the gentle guitar chords, the whole work has a complete and sticky aura of calmness that seems to make you actually slow down. The plesant but firm singing, entirely in Italian, sometimes almost whispers out of the speakers and never becomes obtrusive or abusing.
Another thing that I found interesting was the end. It seems very sudden to the point of almost sounding inconclusive, with the music seemingly stopping smack in the middle of a song. This I attribute to the mood the rest of the CD has got you into where again, you have been in a slow tumble for almost 45 minutes and thus the effect seeming more violent than what it really is.
As you can see, this album is totally about atmosphere, about mood and about a sense of calm where your surroundings will slowly vanish and where you will be left with soft guitar and synth tones walking you through this musical journey. Add to all this a certain sense of indifference that I found throughout the work and you'll be surrounded by this blue-ish hue for the next 45 minutes as you sink into a an oblivion of psychedlia, nostalgia and ultimately heartache.
Inquisition is a bit of a quagmire within the black metal genre, largely because of their vocal stylings, but also because on a personal level I'd never even heard the bands name until early 2011 when their fifth album 'Ominous Doctrines of the Perpetual Mystical Macrocosm' was released. I'll bring up that second point first because Inquisition has a history that dates back to 1988 when the band was formed in Cali, Columbia by immigrated Seattle, Washington, USA native Jason "Dagon" Weirbach. When I seriously search through my thoughts, especially my early meanderings with the genre well over a decade ago I have no recollection of ever once hearing the bands name and to be honest, that kind of pisses me off!
During the bands early years they played thrash metal, but after four releases in the first half of the 90's, Dagon made his way back home, found a new drummer with Incubus, together they switched gears to black metal and in '98 they released their debut album, 'Into the Infernal Regions of the Ancient Cult' through Sylphorium Records from Columbia. In 2010 the album was re-released and re-mastered and (I'm going to assume) introduced the world to this forgotten gem.
Now, going back to my original point on the bands vocal stylings. When I got done listening to the first song on this album I sat back in this here chair of mine and had a grin on my face. A few more songs in I'd seriously found myself laughing out loud and had already regretted purchasing this album only mid-way through. Musically this twosome brings deathlike mystic black metal through my stereo speakers, but what makes them absolutely unique is through Dagon's vocal delivery, which is performed in some sort of jumbled robotic ceremonial like spoken voice. As I said, initially I didn't get it, I thought it was a joke, I really did... but by the time this long ten track sixty six minute album had expired I had become absolutely possessed by these guys.
It was almost on par with when I first started listening to black metal and had to (at times) look past the vocals and just focus on the music, which in the case of Inquisition were talking about a duo creating mesmerizingly skillful black metal with possible influences from the likes of Bathory, Celtic Frost, Immortal, Mayhem and Emperor.
Dagon's playing is absolutely rifftastic, with an incredible array of memorable and yet simple riffs that slime their way into your very being and sort of possess and just take control. The music is seriously catchy in the absolutely best way while still being utterly kvlt, true, headbangable and I'm sorry to say this but goddamn its even pretty darned toe taping in its delivery. Incubus' drum work is also of the absolute finest caliber, diverse and always interesting to hear, perhaps even as well performed as Proscriptor McGovern from Absu, though not nearly as fast. When paired with Dagon's riffs, which are exactly as I said above, but also occasionally hypnotic and grim in style you can bet you're in for a treat, but if you don't believe me just preview the title track. The band also mingles in a number of movie samples and while I don't know of their origin they surely do work well amongst Dagon's relentless Satanic and occult poetry. The bits of thrash and death metal tossed into the equation makes their craft all the more infinitely awesome too!
I can admit that I'd previewed Inquisition a number of times via youtube, but none of it managed to stick with me until this impressive debut. Clearly I'll be adding more albums from them to my CD shelf soon enough.
You've truly got to give 'em credit too, these guys were doing something different both vocally and musically back when others were still directly ripping off all the Norwegians and probably making a bigger name for themselves while doing it. I can only assume Dagon and Incubus have stuck to their original formula over the years and whether or not its all solid is yet to be heard by me. Meanwhile, if you've never heard 'Into the Infernal Regions of the Ancient Cult' I absolutely give it one of my biggest thumbs up and two handed metal horns ever!
Spectral Lore's 'I' originally released in '06 through Saturnine Society served as my introduction to this unique Greek entity when solo band member Ayloss sent me the tape back then. With said original tape being limited to just 250 copies it was eventually re-released through Temple of Torturous in a heavy and quite sharp looking digipak that's limited to 1000 copies and likely still available.
'I' is in a manner of speaking the Spectral Lore project in its most primal form and leans more towards the dark ambient side of things whereas by the time Ayloss released 'II' in '07 there was a greater increase in the black metal elements and even more so on this years, 'Sentinel.'
Original tape from '06
The dark ambient side of Spectral Lore is rather ominous in character with both a very chilling and sort of hazy dreamlike atmosphere throughout, plus they certainly are a bit more melodic sounding than the average ambient creations. 'The Descent' is definitely one of the highlights, because as you listen it really feels like your drifting downward to some sort of cavernous vault, while 'The Drowning' has a smooth keyboard melody alongside occasional electric riffs and a curiously foggy sentiment to it. 'The Cleansing Rain' is also mighty with a droning synth, acoustic guitars and a few samples running through, its one of those songs that's easily able to transport your being to outer realms of where you might currently be as you listen. I also adore 'Exodus,' simply because its the most melodious piece and in an way reminds me of some older video game tunes from the 90's.
The other side of Spectral Lore is a type of raw misanthropic ambient black metal possibly compared to acts like Procer Veneficus, Velvet Cacoon, Vinterriket and Paysage d'Hiver. The few songs that appear in this vein are a bit more limited, but I can’t help but enjoy the dark raging chaos and the trance inducing qualities brought out in these songs, and with the occasional acoustics, keyboards (as seen on 'Morningrise in the Eternal Fields') and even some impressive guitar work there's tons to devour through them.
'I' isn't the finest output from Ayloss, but the atmosphere is rich and even with the band comparisons Spectral Lore was already quite unique on this early effort. If you have an affinity towards bands that blend the ambient and black metal traits quite well and largely uniquely too, then Spectral Lore is not be bypassed.
Its a bit of an unusual fate that I happened to check this album out via youtube a month or so ago after remembering the bands name from the Northern Heritage split release, 'Crushing the Holy Trinity' and then not only enjoying it immensely but finding it about a week later via a local distro and buying it up quickly. Exordium from Lahti, Finland has a history that dates back to '96, but it wasn't until '01 that the self titled EP appeared followed by the aforementioned split in '05, which was then followed by another EP and a live recording before finally releasing their debut, 'In Wrath Principle' in '08.
I inhaled the coldest void
On 'In Wrath Principle' these Finns unleash straightforward black metal that's fast and aggressive with some occasional slower dirge-ish parts, as well the whole recording is loud and commanding with hammering drum work and tremolo picked raw riffs, though some minor melodic qualities can be found as well as a solo.
Gratuitous amounts of diversity may not exactly be offered during this six song thirty one minute album, in fact each song is similar enough and these guys know what they are doing, but each one is superbly well wrote and engaging and energetic through memorable riffs and sudden shifts to slightly slower and semi-melodic territories within the music, which at least for me has resulted in a fair share of headbanging. The drums are truly one of the key aspects of this release with tons of interesting fills, rolls and just flat out blasting that gives the album so much relentless power, and with the rather cold and grim guitar work it all becomes unforgiving in its overall bludgeoning execution as it ceremoniously screams out with blasphemic black metal hatred!
As their first and so far only full-length, 'In Wrath Principle' has proven to be a continuously satisfying effort, which I highly recommend getting your hands on.
When I allow my mind to wander a bit and reminisce on the earlier and first phase ('01-'08) of Lunar Hypnosis I sometimes think about the many bands that offered their musical creations to me. Maybe it will come as a surprise but putting your mailing address out there and getting free music isn't exactly as exciting as you'd might expect and as a result not many of those bands have stuck with me and remained in my musical collection.
Nostalgia, the solo project of Mark Hunter, from California, is one such artist that contacted me back in the summer of '06 and offered his latest recording, 'The Aesthetics of Death,' which was just a start with many more great recordings to follow. 2006 also brought on the split with Cerberus called 'Axis I,' while near the end of the year the 'Infestation' EP was released and largely marked the end of the project. I'm not sure of all the reasons, I think some were largely just personal, but also because he became more involved with the black metal bands Dona Eis Requiem, Chaos Moon, Xasthur, Temple of Ascension and Spiculum Iratus and just simply didn't have time for Nostalgia. The reason I bring this up is because Nostalgia is one of those few bands that has stuck around on my CD shelf through the years and is often pulled out and played still to this day.
Jumping ahead six years Nostalgia is finally back through one final EP titled, 'Abattoir: For the People, By The People,' which is a six song compilation of unreleased material. The earlier recordings from Nostalgia were dark requiems alternating between the more typical dense droning ambient style, to a much more melodic style that’s full of life and emotion, with orchestral undertones, spooky voices and samples, whereas 'Axis I' marked a shift towards more experimental territory.
'Two Eyes Void' opens this compilation with droning ambiance, pulsating industrial vibes, various samples and other dark oddities before moving directly into 'Third Eye Gaping,' which isn't too different initially, but soon enough acts like a total descent into abysmal territories of absolute horror. The remaining four songs carry on in a similarly scary style with pulsing rhythms and occasional gradual buildups to nearly epic heights and even nods towards a more power electronics vibe, though with actual substance and changes throughout the songs that constantly make them interesting. The songs feature an assortment of great samples and while I don't know their exact origin I can easily say that they work perfectly amongst these diabolical macabre creations.
'Abattoir: For the People, By The People' isn't available in physical format, which is shame since its definitely strong enough, but since it merely acts as a way to close out the legacy of Nostalgia its only available as mp3's through the Voidecay Blog. As far as I know Mark is currently working on a new release under a new name as well as continuing his work with Spiculum Iratus. Having been a fan since the beginning I definitely look forward to seeing what sort of hellish journey he has in store for us next.
During the first half of Cathedral’s career the band had a real thing for releasing overly impressive EPs that while only a couple of songs, they were worth every cent you might pay. 'Cosmic Requiem' from '94 is a good example, although it’s kind of a weird EP. Essentially it’s a re-release of the 'Statik Majik' EP, but instead of featuring 'Midnight Mountain' it has 'Funeral Request - Rebirth' in place. Why? No idea, but it’s a damn fine song.
At this point in the bands career they hadn’t completely abandoned the slow dirging doom/death stylings of their debut 'Forest of Equilibrium' just yet as small traces tiptoe through, but for the most part the listener is treated to the groovier stoner doom side of Cathedral that appeared on their sophomore record 'The Ethereal Mirror' and what would eventually characterize most of their future recordings. I’ve always thought of Lee Dorian as one of the best singers out there and his vocal performance on this recording just further confirms my approval. I've always enjoyed the way he goes from his semi-growly wobbly howl to his cleanly sung parts, and also his random chatter during some of the rocking parts is awesome too, thus making him a totally unique voice in both this genre and really music in general. "Let's Groove - Sonic Muthafucka!!!!"
The first three songs have a fair balance between the heavy doom side and the groovy stoner side, usually starting out in one particular style and then suddenly changing early on or mid-way through. 'Cosmic Funeral' is a pretty good example of this as the song seems to progress from snails pace doom to groovier territory to just plain odd rocking out by the middle of the song. Its also interestingly one of the few Cathedral songs that makes use of synths alongside the guitars and they splice them in a totally special way. 'Hypnos 164' is the EP's fastest song that almost entirely abandons the sluggish doom in favor of a more straight forward rockin' sound while 'Funeral Request - Rebirth' is full on gloom and doom at the beginning but moves towards a more drone-ish pace, but eventually picks up in speed and becomes a total headbanger of a song near the end.
In any case, these are some of fine songs, but these songs are just a small teaser for the highly experimental twenty two minute EP closer, 'The Voyage of the Homeless Sapien.' The song seems to explore all the groovy aspects of the previous songs and creates a very psychedelic mood, but still plenty of heavy doomy riffs are present too. Of course Lee’s vocals are big part of the song and during the journey you’ll hear quite a bit of odd things coming out of his mouth, perhaps suggesting that he was under the influence of some mind altering drug. Besides that there are just a lot of weird moments in this song that keep it interesting the entire journey.
At forty three minutes this is a neat little EP that’s definitely worth checking out if you should stumble upon it for a few dollars. Of course you could probably be just as pleased with any of the first three Cathedral albums, but something about this one has always grabbed me and kept me coming back for more and more.
Ever a favorite of mine and certainly suitable as I look outside my window and see both leafs falling from trees and rain crying from the heavens above, yes, Saturnus's sophomore album, 'Martyre' hits the spot today.
With a history dating back to '91 and originally formed under the name of Assesino, this Copenhagen, Denmark group eventually known as Saturnus is surely one of if not the first death/doom metal bands to arise from their land. More than likely initially influenced by the usual crowd of the genres stalwarts, by the time Saturnus released 'Martyre' in 2000 they had taken on new influences and had largely established their own sound.
Opening with '7' the listener is greeted by an ethereal two minute choral piece that tends to remind of Tristania's earliest effort, but soon enough it moves into the second song, 'Inflame thy Heart.' A slowly paced song awaits, paired up with both low growls and a more half grunted approach amongst whispered remorse, while lead guitarist Kim Larsen's a bit unexpectedly heavily melodic somber riffs and solo are the absolute highlight of this early song. 'Empty Handed' is another melodious though more mid-paced and slightly more upbeat Gothic metal number and a total foreshadowing of Kim's one off project, The Loveless. The next three songs are certainly similar to the second though there's little nuances that make them different, such as the pace, the vocal approach and various other sprinklings of acoustic guitars, piano, synths and the overall atmosphere that differentiate enough to make them stand out. 'Thou Art Free' is also a notably interesting acoustic piece that yet again foreshadows to Kim's nowadays main band, Of the Wand and the Moon.
Perhaps my favorite song amongst the twelve is 'Drown My Sorrow,' with its overwhelming melancholic beauty and touching words its always been a favorite within the genre, and I'm also quite fond of 'Lost my Way' with its return to the catchy Gothic metal style it feels like a bit of a picker upper after experiencing the misery of the previous song. Generally though all of the songs really do stick out in their own special way and I find little fault within this sixty three minute effort.
'Martyre' was also marked as the last album to feature Kim Larsen and the classic line-up, largely because Kim wasn't given the credit he deserved and was upset over this fact (He wrote the first two albums entirely and 99% of the lyrics), and as previously mentioned embarked on a new project with Saturnus bassist and drummer, Brian and Jesper, called The Loveless, but ultimately that band fell apart and he continued with his magnificent solo work called, Of the Wand and the Moon. In more recent times he's also started Solanaceae, which I haven't heard yet as well he made his death/doom return with Black Wreath in '09.
Saturnus would eventually assemble a new line-up around '04 and release 'Veronika Decides to Die' in '06 and more recently 'Saturn in Ascension' this year, though I haven't heard them nor am I generally interested either. And as such if you're looking for a diverse, melodic, depressing, atmospheric and quite engaging death/doom record than you surely can't go wrong with this classic known as, 'Martyre.'
Retra, alternatively Rethra or Radogoszcz, was an important Slavic temple city on the Baltic sea-coast, near the Elbe (or Labe) river in the middle-ages, destroyed by German crusaders in 1068 and undiscovered to this day. Retra is also the name of this Polish band/project and their first album, released originally 2009 on CD by Eastside and as a limited (320 copies) cassette version, the item at hand, in 2012 by Werewolf Promotion. Dedicated to the Polabian (west) Slavs, one of the lyrics (Wieleci = Veleti) is based upon written sources regarding them. Another, the self-titled Retra (Radogoszcz) is based on Thietmar's description of the temple city. As all lyrics are written in Polish which is not among the languages I've mastered there's little further to say about them.
Retra consists of two men, Tomasz doing vocals, guitar and keyboards, also known from Kalot Enbolot, Moriturus and Vexation and Trivialis handling vocals, bass and drums, his other projects including Nów, Majestat and formerly Grom and Fornostem.
Cassette cover.
The album has six tracks for a total length of 43 minutes, which means most are quite lenghty, the first track, a shorter instrumental, serving as an intro. This solution works, it draws you in nicely with a slower paced, melancholic approach which is infinitely better than some really tired intro consisting of warfare samples from a film or the like. The first "proper" tracks kicks off right away with dual chanted clean vocals and I admit it, after having heard Nów first I thought is it going to be the same thing all over again? Well fortunately it's different enough with the two vocalists sounding both individual and using both snarled black metal vocals as well as the cleanish singing with variations like the Bathory-like choirs on the third track. Another thing is that the riffing is quite catchy and the songs' length allow them to develop and progress, with differing parts such as atmospheric breaks included. The tempo remains mostly slow to midpaced which suits the epic nature of the music well. I'd compare this foremost to viking era (both) Bathory. Some of the atmospheric guitar bits and actually parts of the riffing too remind me of Immortal when they go wandering the mountains of Blashyrkh instead of storming through red clouds and holocaust winds. Proficient musicianship and a good studio sound with a fitting guitar tone complete the picture.
In the end of the day, this is a great album if you enjoy epic heathen metal. No aggression or very warlike moods here either, this is a melancholic affair, a monument reminiscing a lost people and a lost era. I can't really point just one thing that makes this so much better than the Nów album I reviewed last time as the basic elements are similar. Everything just flows so much better here and it feels complete. However I recommend you check this out, try Eastside for the CD version and either Werewolf Promotion or Trivialis himself for the tape version.
