Owlscry - Owlscry (2012)

Formed around '09, Owlscry is the work of four individuals from Milwaukee, Wisconsin offering their own original take on the depressive/suicidal black metal sub-genre. While I've often stated my distaste towards this genre, specifically because of the lack of original vision and the relentless horde of cloners who just blatantly rip-off bands, such as Silencer, Shining and Bethlehem -- Owlscry on the other hand successfully barrows elements from those bands and twists in their own identity to create something different and highly memorable. The whole atmosphere of the record varies between slow depressive dirges to more speedy manic outbursts and even with something of a psychedelic vibe here and there.

For sure one of the records highlights is the lead vocals of M.Jurek, which range from high pitched berserking shrieks to eerie cleaner vocals and this gravely sick baritone howl that's really something. Throughout the record Jurek manages to sound genuine, doleful and demented without sounding too much like the aforementioned bands, through there are a few tendencies that remind of Niklas Kvarforth and Nattramn. J.Getse's guitar work is slow and gloomy with a rather grisly tone, and although the drums and delivery of vocals do tend to pick up in speed his pace seems to stay mostly the same, revolving between a simple black metal pace to more funeral doom sluggishness. Some post rock-ish riffs can be found as well. J.Linski's bass is also notably audible, creeping along slowly with the guitar, it even has a few moments of brilliance, such as on the song, 'Flood of Visions.' Drummer JM Sundown has more recently got attention for his work with The Cold Beyond, but his style on this record is instantly recognizable with lots of cymbal crashes, interesting patterns and just a total demolishing of the drums.

The seven songs all run near or over the ten minute mark, but I found that there's very little filler material to be had, in fact it seems like each little detail only increases the atmosphere and helps build the songs to their climax's.

Although the music presented is quite good, the album however does have its problems. The major one being the production and the simple fact that the whole recording is rather quiet and forces the listener to turn the knobs up just to properly hear the album. Similarly it seems like the vocals are mixed entirely too high and often when Jurek is violently screaming he completely overshadows the other instruments. The band also experienced some troubles with the label Self Mutilation Services, and it seems they are a complete rip-off label and with the album being limited to just 500 copies the band themselves only received 50 and the rest disappeared. So, actually obtaining a legit physical copy could be something of a task.

Those issues aside, 'Owlscry' is an enjoyable, atmospheric and interesting take on the depressive black metal genre with its own special characteristics. The band was on hiatus after this recording, but has recently reformed and played their first show with a new drummer and guitarist.

Angellore - Errances (2013)

Brought to life back in '07, Angellore from Avignon, Provence-Alpes-Côte d'Azur, France has spent the past several years releasing demos, EPS and a split before signing with DreamCell 11 Entertainment last year and originally releasing 'Errances' in December, although just in digital format. 2013 marked the true release of 'Errances' as it was finally available in physical format in late March.

This three piece band plays a common form of Gothic-ish Doom/Death metal that's heavy on the atmosphere while baring resemblances to the likes of Draconian, Empyrium, My Dying Bride, Forest of Shadows (etc.). The mood throughout the record is one of a very somber nature -- loss, reflection, death and nature all seem to play a heavy factor in the bands music. I'll admit bands of this style are often hit or miss with me, but in the case of Angellore, everything seems to be so well wrote and honest that its hard to not submit to the misery within this album.

Perhaps what makes the album so special is just simply its diversity. The vocals, for example, are all over the place; heavy death growls, cleanly sung male parts, lower baritone singing (similar to Empyrium) and a more weeping sad clean voice is featured too. Rosarius' guitar work has such a passionately grief-stricken vibe to it while interplaying flawlessly with Walran's orchestral synth backing and piano work, which similarly has a very gorgeous and melancholy tone. Rosarius has a few moments of absolute brilliance, especially that solo at the beginning of 'Shades of Sorrow' or his mesmerizing bass guitar work at the onset of, 'I Am The Agony.' Ronnie's drums are also quite well performed, though with so much else going on they seemed to be pushed more into the background. There's also the presence of acoustic guitars and a violin on a few songs, which is first class, and just enhances the album further.

Its hard to pick a favorite as I found the album flowed entirely too well and never felt boring or tired at any point, similarly the song writing is way above average and just shows that the band did their homework before going into the studio to record the album. It also has to be stated that the band pours so much feeling into the vocal styles that all the gloomy poetry seems all the more for real and honest.

I can admit that I generally don't go for these sorts of bands much myself anymore, but there was a time in my life when I loved this genre to pieces. Listening to 'Errances' brings me back to those days of misery and hopelessness, and even though I don't particularly enjoy thinking back on those times, its an inescapable part of my past. In those days it was bands like this that kept me going, just knowing that there were others out there that felt the same inside was enough not to end it all.

I'm sort of surprised this album wasn't picked up by a bigger label, such as Century Media, Nuclear Blast or Napalm, because it has all the workings and professional quality that a band of this style on those labels would normally deliver. Either way, give Angellore and 'Errances' a chance if you enjoy any sort of Gothic Doom/Death metal.

Throne of Ahaz - On Twilight Enthroned (1996)

Throne of Ahaz's follow-up to the brilliant 'Nifelheim' arrived in late '96, although it was recorded almost a year earlier and about two and a half years before the debut (which was recorded in Feb of '93, but not released until '95). This is notable, because had these recordings been released shortly after being captured on tape I suspect they would have made a more dramatic splash in the Swedish Black Metal scene, but since they were delayed a lot of what the band did was sort of common by the mid-90's. And as such ToA is a band forgotten in time, which is a shame since both records are excellent.

'On Twilight Enthroned' saw guitarist Niklas Svensson depart and welcome in Marcus E. Norman (Naglfar, Bewitched, Havayoth, etc.) as the bands new guitarist. Naturally the guitar sounds different on this recording as Mr Norman seems to prefer a style of playing that jumps between cold dissonant riffs to catchier melodic melodies that oddly enough would eventually resemble his work with Naglfar. The production is also cleaned up quite a bit, forgoing any sort of guitar hiss, but thankfully things are not too clean and the production still remains very underground and frigid.

All of the songs blast fourth and violently too, often times augmented with backing keyboards for extra depth and atmosphere. The tempos do tend to vary from time to time, as things can be both harsh and hasty, but also more than a few moments that are overly melodic, thrashy at times, even a few solos here and there, which just brings Dissection to mind. The few slower dirgy parts are pulled off quite well, especially in the title track, which is one of the albums standouts. There's also moments where you could seriously just rock out, you'll see this in songs like 'Let Blood Paint The Ground' or 'Blackthorn Crown.' Beretorn's vocals are just as raspy and wicked sounding as before, though with the production being cleaner they don't pierce my ears in just the same way.

In the end, yes, this record differs from the debut as it really lies more in that Dissection, Naglfar, Sacramentum realm of melo death/black rather than the purer Marduk/Darkthrone-ish vein of the first album. Nevertheless, its a worthy entry into that sub-sub genre, and if you happen to come across it than I'd surely give a listen.

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.