Friday, January 19, 2018

Revolting - Monolith of Madness (2018)

I wish I could numerate Rogga's death metal records so that when reviewing them I could mumble about how this was the *****th iteration of his career, but let's just settle with the fact that whether or not you dig his projects, this Swede is an utter institution unto himself and shows no signs of slowing down. Revolting is one of his bands, similar to a Paganizer or Ribspreader, which represents the 'core' of his sound, that is to say traditional Swedish death of the early to mid 90s laden with melodies and then slight variations from project to might be more brutal, another a little more thrashing, another doomy, and so forth. It's also one of his myriad bands that I've found most successful at delivering a consistent quality, even if that comes at the expense of originality, innovation, etc. I'm not implying that Revolting is exceptional or unique in any way, nor have they produced any death metal masterworks, but if you're seeking another album to remind you of those glorious years when Entombed and Dismember were first breaking out into international audiences, you could do a lot worse than randomly shuffle through this particular discography.

The 6th album, Monolith of Madness, while not the best of this project, is entirely competent death metal driven by d-beats and Floridian tremolo picking runs sodden with the downcast melodies that his forebears first manifest in the later 80s when they were spitting out demo material. It's never quite as evil as it looks like on the cover with its Cthulhu kraken and accompanying...witches on brooms...but you get a fair balance of forward propulsion, churning grooves and proficient leads that favor mood and atmosphere over flash and flair. I do feel like the bulk of the songs here can lapse into samey passages, almost all of which involve the same damn beat at some point, so more work could be done on intros, bridges and so forth to really round them out and distinguish them better from their neighbors, but I think at this point you know exactly what you're getting on a Rogga album, and if you've come this far listening to the guy then you might not even be interested in him varying up the formula much, at least not internally to one band, since he does this form project to project to mirror varying influences or 'eras' in death metal that he wishes to pay tribute.

You know what to expect. That's both the strength and weakness, because while this is written and performed at no less a level as a couple dozen other Swedish throwback bands that populate the F.D.A. Records imprint and its peers, there is probably not a single riff on the entire album that had me thinking 'cool', and wanting to spin it again immediately. The overall effect of Monolith of Madness in the background, while I'm reading through or playing my many Lovecraftian board games or role playing games, is not terribly worthy of its subject matter, because it's just never creepy or haunting, atmospheric or lingering, but Rogga has long directed this brand at a very straight shooting, 'fun' take on the horror genre which does effectively breed some nostalgia. Taken as it is, I think it's yet another solid effort in a long string of solid efforts that perhaps focus too much on being 'solid' and nothing more than that, and I wouldn't mind a higher ratio of ambition > frequency of musical output, but that doesn't completely detract from the moderate level of abusive darkness you're getting from this. Admittedly, my enjoyment of Revolting peaked with the first two albums, Dreadful Pleasures and The Terror Threshold, but this one won't disappoint much if you're looking for another In Grisly Rapture or Visages of the Unspeakable.

Verdict: Indifference [6.75/10]

Tuesday, January 16, 2018

Anvil - Pounding the Pavement (2018)

Anvil has honestly put together a pretty decent run since the release of their documentary, with This is Thirteen and Juggernaut of Justice being arguably their best albums since the 80s, and Anvil is Anvil a few years ago also ably delivering the goods. However, I can't say that it's been a consistent effort, with the sagging Hope in Hell in 2013 and now, unfortunately, their 17th full-length, which as its cover implies, is hammering away at the pavement, but not dredging up much of any interest. That's not to say Pounding is a total wash, but it takes far too long to start getting anywhere, relies a little more on goofy and highly diverse lyrical subjects, and musically plays it too bloody safe, with a smattering of been there, done that riffs which catalog not only their own past but hard rock/metal in general.

Between the lumbering, mastodon metal attempts to produce a new "Metal on Metal" or "Forged in Fire", the more bluesy, party-rock anthems, or the energetically sincere but barebacked poundings that actually reach some level of engagement, this material just doesn't inspire. I'll admit, I laughed my arse off that the opener "Bitch in the Box" was a tribute to a GPS, but even there the music left so much to be desired; run of the mill, predictable riffing patterns, functional melodies or leads that are simply clones of so many you've heard before. They do shoot for a number of those slower, grooving and mighty heavy metal epics and almost always come up short of anything compelling, and often when tackling the more interesting subjects here ("Nanook of the North") the narrative structure of the vocals can come off a little tackier than intended. Sure, I actually do admire Anvil's dedication to taking on uncommon themes, whether silly or serious, but so often the execution just isn't there to match the inspiration. While they've always been a very traditional band in terms of construction of their rhythm guitars, there was usually some darker mood or twist, some epic chorus, or some cool lead to lend a little nuance or distinction.

Not so much here, as tracks like "Doing What I Want" feature such by-the-numbers structure, bland verse and chorus lines that are not worthy of one of Canada's most unique metal frontmen. The last chunk of album, starting with the relentless "Black Smoke", measured "World of Tomorrow" and frantic, bluesy "Warming Up", was actually passable stuff, I found my neck starting to twitch, but that's all about 30 minutes into the album, and even that material is fairly generic, it just seems a little more natural and the product of sharper decisions. The production of Pounding the Pavement is clearly not a flaw, not that I'd mind if the band recorded dirtier, but the rhythm guitars have a nice cut to them, the bass lines sound perfect in the mix, Robb's drumming is fired up as usual, and the vocals and leads are also very well balanced. But this is just not a selection of tunes I think you'll hear much in their live rotation, or at least not for very long since they just don't live up to the classics this band has penned in the past, even the recent past. Juggernaut of Justice is, for instance, a far better album and there's just no point at which I'd ever listen to this over that. A little more solid than Hope in Hell, but pretty unflattering overall.

Verdict: Indifference [5.75/10]

Friday, January 12, 2018

Panphage - Jord (2018)

Sweden has had a glut of rustic, pagan black metal bands over the last few years, a lot of which approach the aesthetic from varying musical perspectives. Nordvis has been a label representing many of the notable entries into this particular field, and Panphage is no exception to that, having generated a good deal of buzz among the crowd that favors the themes he explores. Despite a long history of demo recordings, Fjällbrandt only started producing 'official' full length albums a couple years back, with the debut Storm and its successor Drengskapr only recently put in circulation; and Jord arrives as a someone bittersweet swan song, since I've already seen mention that this project has been put to rest. But if rest it must, at least it's creator has left it on a high note, because this disc soars above its predecessors, perhaps not attaining the next level of the Earth's atmosphere, but providing a broad and convincing introduction and/or retrospective to the sounds Panphage was gleaned on.

Jord shifts between two climes; the first being a highly melodic, majestic brand of black metal driven by programmed blasting, which can be traced to a lot of the band's Swedish peers of the past, only with less cooks in the kitchen. Another comparison I'd draw is Quebec's Forteresse, only with less organic percussion, less repetition and monotony, and a lot more breadth to its glorious guitar lines. The second shines through in the more simplified, churning lower chord-driven cuts like "Som man sår får man skörda" which have a more overt, late 80s Bathory vibe to them, and even a bit of a primal punk nature. I'd say these two halves are evenly balanced throughout this track list, and thankfully blend together well due to the omnipresence of the harsh, barked vocals which hit a great level of resonance and reverb as they rave over the chord constructions. These aren't isolated here, because there is also a droning clean or chanted vocal provided in places, or even some angelic, higher pitched cleans in one of the best tracks ("Skadinawjo"), but Fjällbrandt always sounds engaging and genuine no matter what timbre he's taking, and it helps balance out the more methodic impression left by the drumming and allows Jord to hurdle its own flaws nicely...

Perhaps the largest of which is the abrupt way some of the tunes seem to fade out. Not exactly some jarring dealbreaker for the album as a whole, but it had me wondering if there were some flaw with the promo version I was listening to. Otherwise, there's not a lot bad I can say about this album... perhaps it's not stuffed with the most unique riffing, but the patterns are almost always good enough to create a symbiosis with the listener, and escape over shining pastures towards a waning dawn. I like how the beautiful guitars are still coated with a layer of rawness and grime, and how the overall atmosphere of this disc truly feels like you're experiencing it outdoors where only the sky can contain its magnificence. The riff progressions also create emotions of melancholy and desperation, the folksy segues tearing atavistic portals in the atmosphere with the best of 'em. Even if at first Jord seems samey with a lot of other albums of its ilk, I can without hesitation guarantee that there are particular moments where the listener will be moved by its convictions, especially if you're a heavy advocate for the earlier 90s black metal attempts to blend these similar aesthetics of harshness and centuries-old majesty. There are some GREAT riffs throughout. Not a flawless sendoff for Panphage, if indeed that is its fate, but unquestionably a formidable one.

Verdict: Win [8/10]

Tuesday, January 9, 2018

Vhorthax - Nether Darkness EP (2018)

I haven't run across a ton of Russian atmospheric blackened death (or 'deathened black') through the years, but considering just how much that scene is expanding in all directions metallic, I imagine I'll be encountering more acts akin to Vhorthax in the future. And that's something I'll consider a net positive, because this is a fairly cool EP which strips its influences straight down to their roots and then adds some personality through the vocal embellishments laid out all over the guitars. I guess a general way to describe the sound here is a primitive, roots, thundering black metal akin to Finland's Barathrum interspersed with pure OSDM tremolo picked passages and then bursts of acceleration that move into a Canadian war metal terrain, with the added nuance of some memorable dissonant breaks in what would generally prove a familiar series of chord patterns, that don't exactly grow tired here, but also don't really thrill on an individual level.

But yes, it's those vocals...from the broad guttural that drives most of the songs to the selection of splattered snarls, howls or even cleaner, monk-like chants that are dispersed throughout the tunes, never overused but occasionally doubled up with the growls or layered together to create a beastly, gruesome clamor or voices. Extremely well done, and almost always lending personality to a musical construct which wouldn't be terribly distinct otherwise. The riffs in excellently titled tracks like "The Levitating Tomb" sound good due to the resonant, potent production of the guitars, and the drums throughout the entire experience are leaden and effective, but on their own these elements wouldn't fulfill without those enormous growls that create a cavernous environment in which the guitars can wind their evil more efficiently. Bookended by a great pair of dark, ritualistic ambient pieces ("Altar II" being the more intense of the two), Nether Darkness is a work that sounds PRECISELY as it is titled, and is worth tracking down if you're a devotee of the past decade's return to the lowest, ugliest and most sublime of evils, seamlessly integrate its death and black halves into the aural effluvium of its murky conception.

Verdict: Win [7.5/10] 

Thursday, January 4, 2018

Shining - X - Varg utan flock (2018)

Despite the band's cloying reputation as harbingers of depression, or as a vehicle for one of the most peculiar personalities in all the black metal jurisdiction, I've always found that what Shining translates to disc is often far more compelling than a lot of their peers who were stuck in the lo-fi rut of rawness and rasping. Rich and fulsome production values have long been their standard, and the material that manifests throughout the last decade of releases has appeared varied and interesting, if not ultimately memorable across the boards. Varg utan flock, the band's 10th 'proper' full length, or at least the tenth in their numerated series, upholds this pattern with a blend of traditional black and thrash metal, woozy suicide acoustics and drifting, dreamy aesthetics that create an evocative contrast between furor and stillness, desperation and violation.

Often reminiscent of Root, in how Kvarforth slathers a charismatic, almost comically serious intonation over the clean sequences, a lot of the songs here are nevertheless dominated by fist-balling brute black metal passages that harness the most basal riff patterns into pure force. When he emits that lower, grimier guttural roar over the more brick-thrash patterns, or the lead guitar spits off into an emotionally appealing or even shredding element, I was also drawn back to those Czech miscreants during their classic years, where the 'black metal' tag didn't feel entirely streamlined with the Norse standards. That said, there are plenty of meatier rhythm guitars here which cast the same dissonant, driving shades as their Scandinavian peers, and again the production is just so thick and satisfactory, with all instruments represented perfectly, the clashing and clanging of the kit (which often erupts into a jazzy cadence), the moping swerve of the bass-lines, and the oozing imperfections that continue to define Kvarforth as one of the most instantly recognizable frontmen in his field. Varg utan flock sounds absolutely fantastic blasted out from my speakers.

So why won't I rate it more highly than I'm going to? For all its variation, from the piano interlude "Tovtusenfyrtioett" to the barnstorming blackened pugilism that occupies about 50% of the playtime, the riffs really just don't stick with me for long. Having a standout like Niklas helps a great deal, and the weirder the album gets, like the glistening and ominous clean guitar-driven "Mot Aokigahara", or the deep, morose cover of Placebo's "In the Cold Light of Morning", the more it attaches itself to my conscience, but it just seems like its lacking a half-dozen killer riffs during the heavier segments that would have gone a long way towards its listening value. Don't get me wrong, the astonishingly fluid balance of instruments, the worthy production, and the sheer versatility all contribute to a good album well worth hearing, but I just needed a little further convincing to rank it among their best. A lot of folks will disagree, though, since what Shining conjures up here is so frontal and real that it's bound to land its hooks in withered hearts aplenty.

Verdict: Win [7.5/10]

Tuesday, January 2, 2018

Har - Visitation EP (2017)

Some of the most vile and troubling extremity I've heard out of Israel since a Sonne Adam, Kever or Tsorer, it doesn't surprise me that Har's members have some shared history with those projects, channeling a morass of black, death, and even a fraction of doom metal fundamentals into an admixture of frightening magnificence. Roiling tremolo riffs bleed forth from a turbulent background which is as much created via sustained, airy growls and rasps as it is by the belligerent and heavily resonant runs across the percussion kit. Often the chord patterns lapse into familiar configurations, but quickly enough shift gears before they can garner enough of a redundant feel to score marks against the material as a whole.

I find the group is actually best when its on full frenzy, vocals elevated into a panoply of nihilistic specters that cruise over the guitars, especially as it contrasts into a doomier element like the waning moments of "From the Blood of a Whirling Dagger", which itself cedes into sparse strikes of atonal droning against the necromantic chill of nothing. The ambient components are in general very well done, like the ethereal crescendo of Cyclopean harmonies that heralds "A Shadow Henosis", but they balance this off with an addicting enough blackened barrage that even on such a short-player they scale and descend through a number of aural valleys that are consistently oblique and threatening. Visitation succeeds in fomenting unrest, although not every riffing progression is interesting, they are all flush with its aesthetic darkness and should please underbelly dwellers of the filthier, atmospheric climes that inhabit the rosters of labels like Dark Descent, Iron Bonehead and Har's native Blood Harvest.

Verdict: Win [8/10]

Saturday, December 30, 2017


As always, you can check out a much broader list over at my RYM pages. My sample size this year was enormous to the point that I stopped counting once it exceeded the 2015 record by a couple of hundred demos, EPs, singles and albums. In fact, because there were so many shorter releases that I encountered this year, I decided to split them off into their own list. The numbers in parentheses are what I either scored them, or would have scored them if I had written an actual review.

My Top 17 Metallurgical Albums of 2017

01. Vulture (De) - The Guillotine (97)
02. Ritualization (Fr) - Sacraments to the Sons of the Abyss (95)
03. Vassafor (NZ) - Malediction (95)
04. Tomb Mold (CA) - Primordial Malignity (95)
05. Antichrist (Se) - Sinful Birth (95)
06. Obnoxious Youth (Inter) - Disturbing the Graves (93)
07. Malokarpatan (Sk) - Nordkarpatenland (93)
08. Sólstafir (Is) - Berdreyminn (93)
09. Enslaved - E (93)
10. Emptiness - Not for Music (92)
11. Demon Eye - Prophecies and Lies (92)
12. Beastiality (Se) - Worshippers of Unearthly Perversions (92)
13. Selcouth (Fi) - Heart is the Star of Chaos (92)
14. Drug Honkey (US) - Cloak of Skies (92)
15. Air Raid (Se) - Across the Line (92)
16. Firespawn (Se) - The Reprobate (92)
17. Portrait (Se) - Burn the World (92)

My Top 17 Metallurgical EPs, Splits and Demos of 2017

01. The Swill (US) - Master of Delusion (93)
02. Thantifaxath (Ca) - Ocean of Screaming Spheres (92)
03. Howls of Ebb (US)/Khthoniik Cerviiks (De) - With Gangrene Edges/Voiidwarp (90)
04. Arkhon Infaustus (Fr) - Passing the Nekromanteion (87)
05. Cult of Eibon (Gr) - Lycan Twilight Sorcery (85)
06. Daeva (US) - Pulsing Dark Absorptions (85)
07. The Wakedead Gathering (US)/Ecferus (US) - Split (85)
08. Expulsion (US) - Nightmare Future (83)
09. Loud Night (US) - Loud Night (83)
10. ColdWorld (De) - Wolves and Sheep (82)
11. Mastodon (US) - Cold Dark Place (82)
12. Fever Nest (US) - Black Carrion Fowl (82)
13. Qayin Regis (Es) - Blackthorn (82)
14. Devouring Star (Fi) - Antihedron (82)
15. Nordjevel (No) - Krigmakt (80)
16. Sinmara (Is) - Within the Weaves of Infinity (80)
17. Autopsy (US) - Puncturing the Grotesque (80)

And here below are my favorite albums from other genres, ranging from pop and video game scores to occult and nostalgia rock, Gothic, electronica, punk, whatever.

My Top 17 Non-Metal Albums of 2017

01. Dool (Nl) - Here Now, There Then (97)
02. Keiichi Okabe & Keigo Hoashi (Jp) - NieR: Automata OST (95)
03. Zola Jesus (US) - Okovi (95)
04. Old Sorcery (Fi) - Realms of Magickal Sorrow (95)
05. Grave Pleasures (Fi) - Motherblood (95)
06. Shoji Meguro (Jp) - Persona 5 OST (93)
07. Chelsea Wolfe (US) - Hiss Spun (93)
08. Slimy Member (US) - Ugly Songs for Ugly People (92)
09. The Birthday Massacre (Ca) - Under Your Spell (92)
10. Rope Sect (De) - Personae Ingratae/Proselytes (92)
11. Horisont (Se) - About Time (90)
12. 1476 (US) - Our Season Draws Near (90)
13. Carnifexian (Ru) - Age of Spiked Mace (90)
14. Alec Holowka (Ca) - Night in the Woods OST (90)
15. The Night Flight Orchestra (Se) - Amber Galactic (90)
16. Wucan (De) - Reap the Storm (88)
17. Grendel (Nl) - Age of the Disposable Body (88)

Thanks for reading, and I'll see you bright and early in 2018!

Friday, December 29, 2017

Impiedoso - Reign in Darkness (2017)

It's a little rare to see an album like Reign in Darkness these days, because clearly this hearkens back to a time when the theatrics of black metal were more openly embraced, in the heart of the 90s when the genre was still the shock rock of extremity. You think back on bands like Immortal, or Marduk, Maniac Butcher, or Lord Belial, corpse painted warriors who, while seemingly dead serious through their lyrical choices and themes, might just know how to offer the audience a bit more of a lighthearted duality which endears them. There's nothing 'cute' or funny about what Brazilians Impiedoso throw out there musically, though, but instead a very stripped down and primal form of black metal which also dates them back to that same visual era, albeit with a couple of tweaks that ensure they don't just come across as a shameless knockoff of those I named dropped earlier.

This record does possess its share of blasted abandon, where the frantic beats accompany melodic, classic Swedish-style picking passages into a blitzing maneuver, but there are just as many if not more moments in which the stuff is played slower or mid-paced, with very simple chord patterns that, if not nuanced or unique, at least aim at being catchy enough to carry the listener through. In fact, on tunes like "Domination", the jagged little guitar melodies and the way rhythm licks are constructed remind me a lot of Hellenic staples like earlier Rotting Christ or Varathron, but they also utilize darker harmonies which seem like they'd be better off glazing a doom metal trick, yet are present in some build-up to another of the straight ahead charging sections, where as some of the pure melodies which ride over mid-paced fare often recall sulky atmospheric black or death like another Greek band in their heyday, Septic Flesh. Despite that, the band never really transforms into any form of pure or obvious 'death' metal whatsoever, just an occult proto-black metal style that likes to pace itself out and provide some variation rather than just endlessly looping blasts.

The vocals are a rasped, raunchy style which sounds fiendish if not highly unique, and offers up a caustic and nihilistic contrast against the much warmer notes and chords being fleshed out of the guitars in tunes like "Eu Vejo o Fim". The guitars sound a little bit dingy for this style, where they might benefit from a little more muscle, and I also felt the production on the rhythm section could have been a little better, the drums more powerful and refined, where here they seem a little too brash against the melodies, not the fault of the beats themselves. Bass lines often just traipse along with the guitars, which is old hat for this genre but could be varied up a little more. Overall, I actually like the sincere, raw aesthetic of the recording, it's just minor nitpicks on particular pieces of the kit or guitar riffs that don't quite gel together as they might in a more seasoned, balanced mix. But at no time does the music get obstructed, it's always pretty clear and I think they have a well-rounded approach to their style which you never really heard on bands which committed more fully to dissonance and speed.

Reign in Darkness isn't going to blow your mind, but I think it serves well enough as a slice of nostalgic early occult/black metal which might have appeal for fans of those early Greek years of 1993-1995, balanced with some Scandinavian aesthetics and then even a fraction of the low fi and melodic atmospheres pioneered by Czech legends like Root and Master's Hammer, or even the Italian cult horror metallers Mortuary Drape. If you're seeking out more of a onesided brand of extreme black, there's not much here to offer you beyond a few wholesome bars of blasting, but if you wanna be drawn back about 22 years to the emergence of second wave acts who paid heed to as much Mercyful Fate and NWOBHM as they did Mayhem and Bathory, then Impiedoso has latched on to a style here that through further refinement could grace many a black altar at midnight.

Verdict: Win [7/10] (this is our world and we want it)

Friday, December 15, 2017

Enslaved - E (2017)

I wanted desperately not to like this album, if only because I believe Enslaved has achieved a monopoly on taste and craftsmanship that places them among the greatest musical acts in the world. Thus, I wanted to bring them down a few notches in my estimation; to prove Ivar and Grutle and company were human like the rest of us. At first, my plan was working. I picked up the record during its October release, nodded along to a listen or two, and then shelved it as I was so heavily immersed into my whole annual Halloween media marathon of horror flicks, creepy reads, gaming and relevant metal reviews to my favorite season. I padded out my ignorance for as long as I could, until it came time to start organizing my year's end lists, revisiting all the material I'd enjoyed throughout the months prior, and making sure I'd heard everything under the son from the CD pile, the digital promo folders, and cruising through various forums, YouTube channels and other recommendation spaces.

Inevitably, the CD called out to me once more, its simple, scratchy cover runes confidently requesting that I take another chance, since I was being so stubborn the first couple runs. I failed whatever Saving Throw it is that I fail so often when experiencing the creations of these Norwegians, and then found myself listening to it again. And again. And six more times after that...

Gods. Damn. It. I was hooked by another Enslaved record.

E is not an effort that will surprise any of the band's following over these last 17 years since the band took a significant leap in nuance and originality with Mardraum: Beyond the Within. Many of their hallmarks remain: a hybrid of triumphant melodic black metal, progressive and psychedelic rock elements, bright tints of post-metal or 'blackgaze', gnarled and clean vocals. They've gotten so well trained on this blend that these traits are distributed quite evenly among the tracks, all spun up into a heavily varied rhythmic stew which, while not offering any specific nuances that you'd feel stand out from the rest of their 21st century discography, still seem like they have a lot of stones unturned, so the precise melodies, percussion patterns, atmospherics and vocal patterns here remain fresh and memorable, hardly doppelgangers of what they've already produced over the last 4-5 albums. Add to that what is, alongside In Times, some of their cleanest production yet, and you've got another effort which transcends the boundaries of their initial genre, with seamless integration of its musical ideas into not only one another, but also the philosophical application of folklore and ethnic Scandinavian religion which they use to manifest timeless, interesting lyrics and imagery.

You'll hear a few straightforward, driving pieces here redolent of an Isa or Ruun, where they were first adopting this brighter, accessible brand of modern Viking, but despite the consonant, shining and warm vibes carried through a lot of the soaring backup vocals or the glint of upper range guitars, they also maintain a subtle air of dissonance that keeps the listener just on the edge of lapsing into a truly safe space. "Axis of the Worlds", a personal favorite here, just rocks itself out with a mesmerizing and evil rhythm guitar slathered and harmonized by wonky, wailing, eerie leads. "Hiindsiight" spits out horns into a comfortable, numbing flow of prog that it feels almost Rush-like, but riding on the fjord-waters out to sea with a shifting sun bearing down on the guitars from over the horizon. What truly surprised me, though, is the band's cover of "What Else is There?" from the 2005 album The Understanding by electronic countrymen Röyksopp. They manage to transform the original into this organic wall of chords, clean and growled vocals which is entirely their own, paying tribute to a cool band and song while not interrupting the natural progression of originals that led up to it, just a really great closer that I would never have expected going into this...

There are euphoric moments on this record where it lives up the drug that shares its namesake, and then heavier passages which remind us that they haven't, for one fucking second, forgotten where it is that they came from, and it's this 'eternal cool' factor, an eternal relevance, which is one of the most attractive aspects of their existence. Enslaved is one band that I know I can trust, that I can always take seriously, that doesn't ever seem to put out a record for the sake of it, and yet has enough professionalism to keep the content flowing along at a normal pace. There are those that will forever denounce anything this band has written since Frost as high brow intellectual pap for neckbeards and progsnobs, and their opinion is very unlikely to change with this 14th full-length, but yet again I've got an album here that I feel I can share with those who lounge on the periphery, or outside the den of extremity, an easy recommendation for anyone that just likes good music, that you can either chill out to or rage alongside in equal measures. And I predict it won't be the last. Thank the nine realms for plans that backfire.

Verdict: Epic Win [9.25/10] (the mind-knot will hold)

Friday, December 8, 2017

Tongues - Hreilia (2017)

I listen to and enjoy droves of metal records each years, across a wide spread of the subgenres, but few and far between are those that can even for a few minutes deliver me some sort of a genuine creep factor. The full-length debut of Denmark's Tongues is one such case, a highly atmospheric black metal experience which effectively weaves in elements of doom and death metal to create an experience which alternates between haunting, paranoid and frenzied. While there are a lot of bands experimenting with hybrids of these stylistic niches, Hreilia succeeds where so many others falter or plane out because these gentlemen are masters of scripting simplistic but hypnotic guitars and bass grooves that bore down through your temples into your memory box.

I could tell you that I picked up fragments of Canadian alienists Antediluvian or Mitochondrion here, or perhaps scraps of the dissonant French masters Blut Aus Nord and Deathspell Omega, and all of that would be true; but the psychedelic submission and trauma of Finland's Oranssi Pazuzu is perhaps the closest equivalent, though Tongues don't rely strictly on such exotic walls of atonal sheen in terms of songwriting. Hreilia is intelligently set up by the slow, evil, subliminal grooving of the track "Perennial Waves", behind which you can make out all manner of scaling and falling ambiance that gives the impression you're in the wake of some midnight atrocity, the victims' remains cooling around you, bathing in the lunar rays, much like the cover. The album can grow much more savage, with faster blasted parts that rely on busier progressions of chords, but it's generally the rule that the material remains slower or mid-pace, extremely bewitching and atmospheric, and they play around more with the riffing structures and bass lines that actually matter, while using a guttural lead vocal as a constant that helps rein in and bind the material to a sense of bleak oppression.

Synthesizers are used tastefully throughout, whether in some of the shorter instrumental pieces or to accent the metal components with heightened, fell grace. They also use a saranji, an incredibly atmospheric Eastern stringed instrument which by itself can create all manner of depth and drama, and it balances off against the harsher sections of the albums smoothly. The mix is a fraction oblique, sacrificing polish for a more dingy and alien feel that better serves the blend of instruments, but this all works really well as a package alongside the crude, creepy colors of the artwork and the arcane symmetry of the band's logo, or the imagery of cosmic/weird horror and dread which permeates the lyrics. One of the strongest and most sinister new voices I've heard on both the Danish scene and the I, Voidhanger roster in some time, Hreilia is a record which is not immediately impenetrable, but still picks up accumulative value the more you listen through it, with its spooky and subduing licks that massage and violate your mind in equal measure. Euthanasia for happiness.

Verdict: Epic Win [9/10] (seraphs become larvae)