earthtone9 discuss the creative process behind In Resonance Nexus, their collaboration with producer Lewis Johns, and offer insight into the album’s exploration of themes like perception and reality.
Hail Spirit Noir delve into the inspiration behind their intense new sound, the philosophical and scientific themes that shape the album, and the collaborative process that brought Fossil Gardens to life.
In so many ways Spectral Lore’s enigmatic Ayloss is the polar opposite of recurring collaborator Jacob Buczarski (Mare Cognitum). Perhaps it’s a disservice to even make this comparison, but the links are plain to see. Both acts are juggernauts of modern atmospheric black metal that have worked together multiple times, most recently on the challenging but exceptional split LP Wanders: Astrology Of The Nine, and now both have released records within only a few short weeks of each other. Despite their clear chemistry when working in tandem, their respective careers are strikingly different. Buczarski’s work has been a consistent, forward-facing development of spacey, melodic black metal. Every record builds and refines the formula of its predecessor, but ultimately the most recent iteration differs little from the first in style. Ayloss’s sound is earthier, yet more abstract. Spectral Lore albums can sound wildly different from each other, so much so that one could wonder if it’s even the same artist at the helm. And yet, amusingly, with Ετερόφωτος it is in the most experimental moments that Ayloss stumbles.
Make no mistake though, there’s a whole lot of solid black metal in the mix here in spite of its missteps. With a hefty 74-minute runtime, there’s a lot of material to sift through. It starts off well, ‘Ατραπός’ tidily stakes out much of the territory Spectral Lore mean to cover across the record. Waves of tremolo riff laden blast beats expertly give way to wonky grooves, clean breaks and post-metal builds to ultimately paint a nuanced, mystical portrait. Five more dense compositions follow that are often challenging to decipher as they dance all across the spectrum of extreme metal. ‘Apocalypse’ is a striking conceptual piece that noticeably gets louder and more chaotic over the course of its eight minutes. The music seems to audibly break apart as mechanical noise is steadily introduced until it’s just the noise itself at the end.
There is a wonderful 54-minute record in Ετερόφωτος. Bizarrely though, the six chief tracks eventually give way to ‘Terean’, a nineteen minute ball of . . . nothing? There’s some unsettling ambience going on, the kind that would suit a brooding arthouse horror film, but it does absolutely nothing for an atmospheric black metal record. It threatens to get interesting with some distant chanting sort of building up in the background near the end, but it amounts to nothing as the track eventually sputters out. An unfitting end to an otherwise great album. (7/10)
Before I start, I'd like to tackle the obvious (the elephant in the room), Ildaruni are from Armenia. Now, not knowing another single act from the same geographical location (I'm sure they exist) this makes me curious indeed only more so as the accompanying art is rather nondescript, in as far as it could work for a release belonging to any number of genres.
In regards to the audio. The opener/introduction oozes with atmosphere; Gregorian chants overlaid by synth which conjures any number of fantasy RPGs. As the track progresses spoken word passages are added to the track's gratification to bring about an aura which conjures a strong likelihood that this will veer into atmospheric black-metal waters.
"Treading the Path of Cryptic Wisdom" tears from the gate with slight power-metal leanings. This feel transforms to accommodate a passage dominated by instruments one would find on any Skyclad release. Moments later rhythms encroach to replace all these thoughts in favor of uncontrollable movements. A vocal style (complemented by a chorus of sorts conjuring a Viking gathering) adds to the track's impact. Layered in a well-executed ancient/nature vibe this is a fantastic approach and physical realization to garner one's attention making that all-too important positive immediate impression.
'Beyond Unseen Gateways' progresses to display Ildaruni's probable influences. As well sporting a majestic marriage of atmosphere, pagan rhythms and riffs, fans of both Dissection and Amon Amarth will no doubt appreciate it as Ildaruni also show their adoration of melodic BM. Cresting riffs flow, minus the harsh frigid nature associated with many acts in the genre, to create an undulating soundscape evoking an almost tangible narration of age-old myth, a myriad of tales inked in Bold type by way of the frolicking foundation of melodious arrangements. "Boundless Numen- Gardens of Ardini'' is an excellent example.
Among the myriad of influences which flash across the brain the exquisite blending of styles puts me in mind of early output by Moonspell (namely "Wolfheart") although this is significantly swifter in pace there are specific passages in "Towards Subterranean Realms" to strengthen this thesis.
The final track, "Whence Ravenstone Beckons", overflows with the aforementioned darkly fantastical atmosphere (leading me to believe Elves might actually exist and are quite possibly the reason why society isn't overrun by Orcs, Trolls and Goblins), in essence a perfect pairing of melodic black-metal and pagan-metal which this release has already excelled at showcasing.
Although somewhat 'light' in tone, there are a number of instances to perk the interest of the more traditional genre fan. From clean, to spoken to spitting 'absolute fire' the commanding vocal presence of Artak Karapetyan cannot be ignored, executed with a professionalism which far surpasses his years on scene his is a throat which fronts this vehicle through waters both murky and occasionally even uplifting. Bolstered by a solid, clear, production the 'whole' is a wonder to experience provoking an appreciation any fan is sure to blissfully exhibit. (9.3/10)
What's in a name?
Many acts sport a name which warrant research to sate the curiosity. "Nixil", could mean (and is translated as) several things; to refuse to accept or allow or as an exclamation or warning.
The cover art adds to the intrigue. A frustrated looking invertebrate chasing its own tail one connects with the title. However, it's the band's logo which sticks out; stark, angular and crimson bold, this isn't typical of the genre.
What about the music?
Taking into consideration how Nixil is comprised, with former/current members of Spectral Tombs, Dagger Moon, Tsepesch and Corpse Light, one would expect a varied stylistic approach. And they'd be correct in that assumption.
"Black Earth Within'' starts the album. An introduction invoking mist covered terrain rarely traversed by human feet is obliterated by a cymbal crescendo, brief melancholic chords, furious riffing and a scathing vocal assault boasting definite BM cursing-the-heavens-above qualities. As well its obvious viciousness the track meanders into doom realms, some might even say Sludge arenas. Only then to hit the nitro again when one becomes comfortable with the surprising groove. This initial audio example serves as an excellent introduction to both the album and the acts creative tendencies.
"Deaths of our own Design" commences with blazing riffs, then abruptly crawls to a snail pace accompanied by the tolling of a bell and a vocal plea, of sorts. Sludge again, is the order of the day though Avant Garde, ala Akercocke, elements (both in percussion and vocal fronts) appear as well melodies which recall earlier Paradise Lost.
"Make me the Voice" is an infectious dissonant number with a catchy chorus shot through with veins of BM pace. Three tracks in and the word 'unpredictable' is lit by night carving neon.
For those with melodious penchants the title track serves to scratch the itch. Folk elements are front and center (if I'm to be honest, I was well expecting a harp, violin or an interlude to showcase a soundbite featuring an owl or a cricket). Weaved among the arrangement also is a definite menace. Though the highlight of this standout track has to be the vocal conclusion..
Hoisting the standard for sounding most like traditional (is there even such a thing?) BM, is "May This Flame Flicker Out" (as if the title didn't give it away?) Although it too is shot through with stylistic deviances; nodding to both Heavy Metal and Blackened Speed arenas.. .
“All Knots Untied” concludes with "Unimpeded by the Weight". A photo finish second place in the aforementioned standard-hoisting competition, this bears palpable ominous qualities as well a chilling vocal presence. Rhythms are varied; ritualistic cavernous to those of the type to please individuals whose wardrobes proudly feature battle vests and a variety of studded arm adornments. A fantastic conclusion to an album which although might not initially grab the attention will seep into the senses and is likely to become a highlight in frequent playlists. (8.1/10)
My first encounter with Winterfylleth came via their 2012 album, The Threnody of Triumph. It was basically a two ships passing in the night affair. I heard it but didn't spend any time with it. I've spent plenty of time with their newest release, The Divination of Antiquity. Much of that was just letting in sink in. Sink down, layer by layer until it found its final resting place wrapped around my soul.
As it will yours through the inescapable pleasure of ancient windswept melodies coursing through the core of Winterfylleth's signature sound. They may ring with a bleak and icy tone but a warmth comes from within countering the harsh desperation of vocalist/guitarist Chris Naughton's screams.
Paired with guitarist Mark Wood, Naughton along with bassist Nick Wallwork create sweeping vistas of moving sound. A constant buzz of energy powers scorching rhythms and glorious melodies. As befitting the tracks, drummer Simon Lucas adapts to the changing landscapes. Whether keeping time with grace (“A Careworn Heart”) or more often blasting away the concept of time with ferocity, his commitment is never in question. Although the higher the bpms go, the higher Lucas pushes the band.
The title track sets the stage for what is largely a homogenous album, not straying too far from the foundations laid down early. Carnal black metal screams – the way black metal should be screamed in this writer's humble opinion – dig their hooks in and swiftly lift the listener up and away from the chaos and selfish existence of modern life. The listener is taken to a place still full of fear but of a different and more primal sort. Swollen-heart melodies, which are the album's lifeblood, protect against the thunderous percussion which sounds like the thudding feet of a predator in full pursuit.
As visceral as the searing black metal guitars and relentless percussion can be, Winterfylleth still conjure up images of great heights, natural beauty and a deep reverence for their homeland and its past. There is pain to be felt for certain but it's a cleansing pain.
Acoustic guitar and low chanting voices enhance the album's depth and overall appeal. The chants on “Whisper of the Elements” sound like the Earth itself is talking and the serenity and peace of the mostly acoustic “The World Ahead” calms the savage beast.
You can feel the exhilarating rush as you're swept through endless valleys and hills, verdant with life and lore across stretches of time. Ghastly or ghostly, the album resonates deeply within the soul. The Divination of Antiquity is a treasure of conflicting sonics. The magical confluence of the sublime and the pestilential churns with the intent of a grand design, sending the listener forth under magnificent clear skies and favourable winds.
Few black metal albums display this level of balance and depth, merging menace with melody, brutality with beauty. The leaves are changing and so are the winds. Follow them toward the glory of Winterfylleth and The Divination of Antiquity.
Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.
There are a million ways to promote an album, but in a style like Black Metal which originates huge discussions about what is authentic or faux, what is pure or impure, the best way to promote a new BM release from a young act is definitely to portray an image of authenticity. Well, at least that’s what Relapse Records thinks anyway, when they had to come up with a marketing strategy to promote Myrkur, a one-woman black metal project emerging from the darkness of Scandinavia. Not much is revealed about Myrkur’s origins and history, except the fact that she resides in Denmark and signed a record deal with the respectable underground label for the release of her very first recording. Yet, there are rumors floating around claiming that the mysterious woman behind Myrkur is actually an indie-pop artist residing in New York. If the rumors are proven to be true, then this is just a weak gimmickry from Relapse to avoid Myrkur getting tagged as yet another bunch of hipsters jumping on the black metal bandwagon. Does it matter? Not really, especially because Myrkur is actually a great and unsettling listen. We asked Myrkur a few questions by email prior to hearing these rumors and here’s what she had to say about the project’s origins and various influences.
I’d like to start by asking if you can tell us a bit more about your musical upbringing? Who were your influences growing up and what artists inspired you to start Myrkur?
"I grew up in Denmark by the northern coast and forest. I was taught violin and played in a symphony orchestra. I grew up listening to Nordic composers mostly, Edvard Grieg, Carl Nielsen, Stenhammar etc. Black metal bands I like are for example Ulver, Dissection, Mayhem, Kvist, Emperor, Abigor."
You mentioned that "Nature is a big part of the reason black metal even exists.” Living in Denmark, do you think your environment has had a major influence over your music?
"Yes nature is the biggest influence on me of all. Scandinavian nature looks the way black metal should sound. Frozen, pure, pine trees, fjords, dark, but also with crystal clear skies. Midnight sun in summer or darkness all day in winter. No grey areas or half way anything." What other non-musical influences initially lead you to create Myrkur? You also mentioned that you always dreamed about becoming a Huldra, an elf girl, a Valkyrie or the goddess Freja. Is that idea present in your music?
"Yes these characters possess both human and godly features, darkness and light. I like this combination in my music as well. I have many sides to me. This is one of them."
Let's get into the EP. It's a great and unsettling listen filled a mysterious darkness. Can you walk us through the creative process for this album?
"I have been writing these songs for a long time and was not planning on releasing them. I mostly write and record in my house in Denmark alone. Sometimes I have written in Bergen, Norway. The songs on the EP are all the original demos. When I decided to release them, I mixed them myself and then had them mastered to make them properly loud."
“Dybt i Skoven” seems like an extremely sensitive and ethereal song that stands out on “Myrkur”. What were you thinking about when you wrote it?
"I was fallen into a black hole of thoughts about my forest that I used to walk around in when I was little. The song reflects to me a journey into darkness for a young girl who gets lost and perhaps wishes to disappear forever into a romance with nature."
You said that when you’re screaming these songs it physical hurts you and it feels like something is leaving your body. Is your music intended as a catharsis or do you view it more as a process to transcend to another spiritual state, or a little bit of both?
"I don't have a deliberate motivation when I write or perform this music. But I wish to leave the mortal world and become one with nature. And express a fraction of the anger and hatred I have inside me. But also something beautiful and pure."
Lastly, how do you feel about black metal in 2014?
"I do not know how I feel about it. I don't know too much about new releases or the current Black metal scene. But truthfully I do believe that black metal has the most dedicated fans whose hearts bleed for the music they hold dear. And this hasn't changed."
Black metal is the new black. And while the scene doesn’t struggle with an overt fashion crisis, at least not currently, it’s certainly the new cool. The genre has always been great but nowadays it seems bands lean more towards Deafheaven or Darkthrone. A broad generality, but not wholly inaccurate. Then there are bands like Mutilation Rites. Bands that have a way of hitting the pure switch on genres and making it work.
Mutilation Rites is a four piece hailing out of Brooklyn, New York playing a fusion of black/thrash/doom metal. The four-piece released their first demo in 2010 and haven’t let up for much since. Their first full length Empyrean portrayed a heavy Darkthrone influence while also breaking things down into bouts of drone. The album was solid but sometimes felt a bit stretched. Their latest offering Harbinger expands on their capabilities and showcases a more perfected craft.
Harbinger is thrashy, thrashy like the last Nocturnal Graves record. From the opening chords of “Black Pyramids” Mutilation Rites bring the rage back as though a sharper blade has cut into these songs. The crunch and smash is more honed. The stomp-march tempo that black metal has perfected is brought in spades. Ex-Tombs drummer Justin Ennis shines brightly throughout as the band charges full force. “Tactical Means of Ouroboros”, perhaps the album’s strongest song, thrashes and blasts away; one of the most energetic and destructive pieces on the album and possibly one of the best songs the band will ever write. It’s filthy and frothing.
While the drone/shoegaze is still present it has also vastly improved. Melodic sections take on an eerie tone and don’t feel like they’re stretching Harbinger for a run time. “Exhaling or Breathing” brings out seething melancholy tone that sounds like something Deathspell Omega might have penned (without the neck-breaking time signature changes). The piece crawls along while still managing to sound creepy.
What makes Mutilation Rites a stand-out amongst a black sea of black metal is that their approach works. The way the band brings in other genres to their black metal template shows just how great their songwriting is. “Gravitational Collapse”, for example, melds genre after genre without sounding like it’s trying to over achieve. It thrashes as much as it pummels forth while still tossing in some d-beat/crust influence towards the end. Pieces like “Suffer the Children” and “Contaminate” sound like the band was sampling heavily from the Disfear catalog.
Harbinger is the follow up that Empyrean deserves. Fear of a cluttered, muddled album was valid with the way Mutliation Rites carried themselves, but they’ve come out of this one standing far and above. We could’ve gotten a piece that was riddled with good intent and instead we got a vicious killer. Riffs are tighter, melodic sections are both more harrowing and glorious, and George Paul’s vocals have never sounded so pissed and sinister. Mutilation Rites continue to be more Darkthrone and Nocturnal Graves than Deafheaven but would hold their own with any black metal band. Harbinger is loud, sharp and a great slice of truculent black metal.
Chris is a film reviewer for Examiner.com (good luck finding his work there) and journalist for Metal Injection (better luck finding his work there). In his spare time he video blogs and promises a second installment of the Guilty Gear Retrospective on YouTube under theOfficialChris. He also writes novels, applies for jobs, attempts to write music, eats cheap food, drinks lots of coffee, enjoys opera, worships grind, and works. He can be found posting songs and bitching about the awful V/H/S film franchise on Twitter: @CoffeeCupReview.
By this point learned metalheads shouldn't have to be told that Tombs are a top-shelf act. Their coming out party, 2011's Path of Totality, was even named Decibel Magazine's Album of the Year. The NY quartet carry over the qualities that lead to that album's critical success on their latest transmission of darkness, Savage Gold.
For this release mainman Mike Hill (vocals/guitars) is once again joined by drummer extraordinaire Andrew Hernandez as well as newcomers Ben Brand (bass, ex-Woe) and Flourishing guitarist Garrett Bussanick. Despite the member turnover this unit perform as a potent force.
The lyrical themes of Path carry over to Savage Gold as well. Unlike much typical black metal there's no mention of any cloven-hoofed worship, no admonishment of belief systems and no revelling in the glory of nature. Hill focuses more on darkness and death. His vocals may be beastly and muscularly dynamic but nearly always discernible.
His ruminations are deep and philosophical; the product of a mind that never idles. A general feeling is that of acceptance to death's inevitability, yet there is still a fear of succumbing to its clutches. Heavy topics sure, but as David Gold (Woods of Ypres), whatever-you-believe-in rest his soul, said, “Only death is real.”
Hill's thought provoking words are delicate on paper but betrayed by the fierce savagery with which he delivers them. Such existential musing must be accompanied by equally dark music and the multi-layered black metal Tombs excel at is plenty dark. Their sonic palette consists of shades of black but Savage Gold is painted with rich, emotional textures. Scorching black metal blasts play a big part but as much as tunnelling through the depths draws the listener in, it's the moments where Tombs slacken the pace and open up that really cut to the core. It's like seeing through the savagery and blind rage of a razorbacked beast to the tortured soul that lies within.
Hill's gruff and gravelly bellows and rasps express torment over painful melodies on “Seance”. The track works in an almost sludgy vibe but also some of the best windswept tremolos and punishing blasts on the album. Each shift in tempo and mood is met with the same sense of importance and awe.
That's just one example of how well Tombs are able to play with dynamics. Cascading melodies create atmosphere. Hypnotic brooding dulls the senses. Death metal sensibilities crush the skull. Pulverizing chaos, lumbering gait, serpentine movements and mesmerizing guitar interplay blur the edges of reality.
Savage Gold coils around the listener like the tempting serpent. The grip of the experimental blackness is inescapably deadly. It's a captivating album that beats you senseless one moment and carries you among the clouds the next. It's powerful, chilling, exhausting, encapsulating and irresistible. Among the wealth of excellent bands releasing albums this year, Tombs will once again shine amongst the brightest.
Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Metal Bandcamp, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.
Comprised solely of one guitarist/vocalist and one drummer, Germany’s Mantar have released their debut album Death By Burning earlier this year and it sounds ten times more massive and intense than many groups with full line-ups. Through smashing together such distinct styles as metal, punk and rock’n’roll, the duo have found a sound that is equally memorable and intimidating, oppressive and engaging. We recently caught up with drummer Erinc to talk about the band’s background, their crushing new album and their plans for the future.
Mantar is getting a lot of attention in the press lately. Have you been surprised at the reception that the band has received?
“Yes we are… indeed. It’s nice to get so much positive response from all over the world. Furthermore it´s kinda funny as our main goal was to do some recordings and make 50 to 100 tapes for close friends. Everything worked out a little different. We don´t expect anything. We don’t take shit as granted. Actually we take everything more as a gift. It´s great to see how many people dig that record. For a brand new band, that´s very, very cool.”
I understand you have been friends for a very long time, so what provided the impetus to start making music as Mantar now?
“The concrete idea came from Hanno about two years ago. He had the vision of a really heavy band…and if we could handle it…we should run it as a duo. Maybe there was this glory moment to start something new… because we were kind of frustrated about the ongoing musical and non-musical stuff we were into. So I said “yes, let´s meet and work things out”. The only agenda: …play as heavy as possible. It worked out great and we decided to continue this…and still do as you can see.” Have you two been in other groups before?
“Yeah…there were lots of bands. Some were good and some just crap. But we never played together in one group before, even though we know each other for so long now.”
I must confess I was a bit stunned when I discovered that you only record drums, guitars and vocals and don’t use any other instruments. Seriously, it’s absolutely insane that only two people can make as much noise and sound as massive as you do. Could you tell me a little about how your new record Death By Burning was created and what equipment you use to create such a gigantic sound?
“Well, the magic is to use the equipment of a five-piece-band. Using 3 amps with 3-4 big cabinets at once makes your biceps really impressive ;). Believe me. To coordinate all the heaviness. Hanno is using kinda the biggest FX-Board out there. Looks like a spaceship to me…but this self-build wonder board would kill dinosaurs!! Additional to all this technical stuff…there’s a pretty hard hitting drummer on the other side. Ladies and gentlemen, that’s me…hehe. All in all, we used the same equipment for the recoding we use live and for rehearsals as well. We did not want to fake anything. If you know your gear it´s possible to raise some serious hell.”
The press release sent out by Svart Records says that we shouldn’t call Death By Burning sludge. Why is sludge a dirty word to you? What do you think is the most accurate description of your music?
“I think that the genre "sludge" isn´t something you can rely on anymore as a trademark for something particularly good. It´s pretty worn out these days and a lot of bands use it as a brand because they don’t have any own character or don’t know about their own roots. Maybe due to the fact they never had any. Don’t get me wrong I love shitloads of stuff that is branded as "sludge". Great bands out there, but well... some kind of inflation is going on nowadays. And what the hell does sludge mean?? That people play slow, heavy music? We aren’t even that slow…”
Are there any particular influences that you would say Death By Burning is indebted to? For instance, I recognize some Melvins traits in songs like "Spit" and "The Huntsmen".
“Aaaah yes… great man !! The Melvins always have been a big inspiration. I love Dale´s drumming. And obviously we can’t deny that we like to rock...Motörhead and AC/DC also did their parental deeds. Even though we have a much darker atmosphere I guess.”
"The Stoning" sounds pretty punk’n’roll in the instrumentals. Which one of you is the punk or rock’n’roll enthusiast?
“We both got punk background. That’s where it all started. Energetic aggressive music still has the biggest impact on us. In Mantar it might be me who brings in all that rock’n’roll beats and stuff. I’m a rock drummer and can’t deny that… sometimes Hanno has to slowdown me when I get too rock’n’rollish . On the other hand that might be the interesting thing about the band. We just don’t deny the groove as many other bands do. We still think that even dark, aggressive music´s gotta roll somehow.” What’s it like playing these songs in a live setting? Is it difficult to recreate the extremely dark atmosphere of the album on stage?
“As we were aware of the fact that we will play shows, we didn’t use stuff for the recording that we won’t be able to reproduce live. Actually we even do use the same technical equipment live as in the studio. Same amps, same cabinets and same drums. ..so from that side it’s pretty identical to the album. The songs sound harder and more energetic on stage…but still dark and evil. I think most important is to play as intense as possible. People will feel if you really are in the moment of playing the song. We get ourselves in some kind of destructive rush, a positive, very energetic feeling though.”
Death By Burning was the church’s privileged method of execution for crimes heresy and witchcraft in the middle age. Is there any particular theme to the record, lyrically?
“No. Not really. The power of nature has been a big lyrical influence. It´s about the urge of man for the final battle. The return to nature. And for sure the general sickness of mankind. I dont´t judge though, I just tell. We don´t have any certain message. I don´t care what people think. I dont want them to act according to my lyrics. Our only message is the power of the music. That´s too important to also focus on any message.”
What can we expect from Mantar in the future? I understand you’ve some shows booked for the next few months.
“Right...playing shows and touring is the main agenda at the moment. Having a good time…reaching lots of people. We are very happy to play so many different countries already in the very first year of playing live with Mantar. It´s great to meet so many new people and get the chance to play big shows like Roadburn and stuff like that. But after all that I hope that we will be back in the studio as soon as possible. The aim is early 2015…”
For an album that purports to exalt aural oblivion, Sacred White Noise is startlingly articulate. Thantifaxath ply a riveting and addictive black metal, inhabiting a world where weird arpeggiations accelerate and decelerate in tremolated madness. I’m excited by very little in the way of black metal these days, but Thantifaxath bring a compelling and inventive animus to the table.
More discrete and comprehensible than Mitochondrion, and less oblique than Deathspell Omega, Thantifaxath imbue their progeny with a poignant originality. Sacred White Noise broadcasts chromatic madness in satisfying stereo. The dual guitars often flay obtuse polyrhythms, but they also unfurl ponderous chord progressions and crushing dynamics. An excellent rhythm section is accentuated by bass lines that broil nicely under the guitars' treble. The speed can be blinding, oft approaching Krallice-like acrobatics. Hyperspeed symphony, however, is not the goal; these magnificent riffs and rhythms live in service of an ominous and alien ambience.
The satisfyingly scathing vocals teeter on the edge of madness and comprehensibility. Without lyrics, we're left to ponder the half-understood ravings in darkness. Stanley Kubrick-style atmospherics manifest in chants and obtuse orchestrations, giving the album a sense of space, if not outer space. A twisted and glorious string composition towards the end of the album seals the deal on the band’s sadistic sonic intent.
Thantifaxath may worship white noise, but they certainly don’t create it. I walk away from each spin of Sacred White Noise feeling satisfied, but filled with questions that can only be answered by further listens. This is the mark of excellent music.
Atanamar Sunyata is a software engineer by trade and a herder of cats by calling. He lives in Peekskill, NY, with his wife and three man cats. When the inspiration strikes, Atanamar spouts metal hyperbole for Scratch the Surface, Metal Bandcamp, and his own blog, sunyata – mindful of metal. You can also find him on Twitter @AtanamarSunyata and Facebook.
It’s never all that fun to hate on a record, particularly by a small band willing to try new things. But here I sit with Last Poem / First Light, the newest from So Hideous, and I can’t find many positive things to say. Parts black metal, screamo, and modern classical, it never particularly congeals into a whole anything, except for a post-rock record that would have felt outdated 10 years ago slathered with nasal-y screams and fractured song arrangements.
Let’s start off with the compliments. So Hideous clearly knows what it’s doing when arranging strings, and the most overtly classical elements are the record’s best, providing respite and beauty, and sometimes even unease, as on opener “Rising.” In these moments, the band demonstrates an ear for nuance that is nowhere else repeated, or is only done with an obvious “HEY ISN’T THIS BEAUTIFUL” that the effect is ruined.
Ruined being the perfect word to describe the record’s brief high points. “Stabat Mater,” presumably named for the Arvo Pärt piece, opens with strings and returns to their theme on piano, but sandwiches a supremely cliché black metal passage in between. This, for the most part, is So Hideous’s compositional game: alternating between melody and dissonance, often jarringly and with no clear goal. “Last Poem” provides another example of this, tacking a coda about a fifth the song’s length onto its end. The string passages themselves are well-arranged and performed, all credit to guitarist and composer Brandon Cruz. But the parts sound nothing like one another, and when placed together, as on “My Light,” we have the sound of a black metal band playing overtop a classical composition in the same key, but neither is particularly improved by the other.
And both are done a disservice by the vocals, undoubtedly the worst part of it all. Christopher Cruz injects a nasal whine into his screams that curdles them in a way that unfortunately reminds me of too many basement-fried screamo bands that never made it past a demo in the mid-2000s. So Hideous is clearly going for something grandiose, and his vocals are amateurish in a way that strongly hurts the music. What Last Poem demands is a strong performance with deft range and confidence, and Cruz provides none of that, instead substituting angst for strength.
Then again, even if his vocals were up to snuff, the listener would still be left with warmed-over ideas from Envy, Deafheaven and Explosions in the Sky. For how much effort was clearly put into composing and arranging this record, it deserves to be better. That So Hideous has grand ideas is a start, but its reach exceeds its grasp by an almost incalculable sum. Thankfully, a start is more than most bands even bother with; So Hideous could make music deserving of their ambition yet. Rob Rubsam
Rob Rubsam is a freelance writer and itinerant resident of Upstate New York. His writing about music has been published at CVLT Nation, Tom Tom Magazine, The Rumpus, Burning Ambulance, and others. When not contemplating giant squids or erecting a standing stone in his backyard, he tweets at @millenialistfun. Do not contact him with your black mass-related inquiries, please.
I shouldn't have to waste time going over the events surrounding Behemoth frontman Adam “Nergal” Darski but I will anyway. Briefly. Between 2009's Evangelion and new album The Satanist (Nuclear Blast in EU, Metal Blade in North America), Nergal fought and won a battle against leukemia. And he has celebrated by crafting an album that spits in the face of weakness. Behemoth's 10th album seethes with the kind of raw power (with top notch production) we've come to expect but it's not without a couple surprises.
Opener “Blow Your Trumpets Gabriel” rallies the masses in classic Behemoth fashion. Some plodding militance crashes with the supreme reign of chaos and lightning fast everything. Nergal calls for attention like only he can. His voice is infinitely commanding. Throughout the album he puts himself on display in a totally natural way. Instead of simply roaring, there are subtleties and emotional cracks appear in his corpsepainted facade. His berated throat fans the flames that burn eternal in Hell, scorching The Satanist's unbelievers.
Nergal is joined on the guitars by Seth. The pair of six-stringed evangelists leave no riff unconverted, ripping and shredding their way through the candlelit darkness with unrepentant speed and devastating solos. Not that that wasn't expected. What was unexpected in a way is how Behemoth rein in their headlong battle with more mid-paced pounding accented by atmospherics of the vocal, brass, string and melodic varieties. Their electric weapons of enslavement even give way to (gasp!) acoustics and spoken words on “In the Absence ov Light”. Never fear. Total obliteration follows within the track.
The rhythm section of Orion and Inferno, bass and drums respectively, really shine on The Satanist. The deep, growling bass ploughs through the mix throughout, enhancing the album's overall menace, at times even becoming the dominant force (“Ora Pro Nobis Lucifer”). His rhythmic partner blows the doors off the cathedral with an absolutely stellar performance. Inferno really outdoes himself with spectacular speed but also with measured thunder, snappy fills and a knack for adapting the castigation without a hint of hesitation to fit the tone and flow of the tracks.
While this is Behemoth doing what Behemoth does, they're now doing it better than ever. However, two tracks stand out in particular. The title track is truly epic. Orion's bass is all over it. Choral chants rise and fall within mid-paced movements. It's loaded with ambience and power dominated by Nergal's desperate, impassioned vocals. Closer “O Father O Satan O Sun!” breaks from the mold as well. It barely rises above a gallop at times, letting the listener down easy after the frantic previous tracks. Vocal harmonies lend a cinematic air. There's groove (Orion again) and atmosphere to go along with undead solos and a sort of creepiness. It's an amazing track and easily the album's best.
The track embodies the blood and guts, the life-giving force that permeates this passionate album; that which drips from The Satanist's every pore: devotion. Devotion to the sound, to the aesthetic. Devotion to Behemoth and everything they've worked for and stood for. Devotion to life. Because Satanism isn't about death, it's about life.
Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.
A number of things link the countries of Canada and Sweden (besides being my two favourite). Both have similar climates, Green elected officials, excellent hockey and killer metal. Which brings us to Culted. This blackened doom group is a collaboration of members of both countries. Michael Klassen (guitar/bass/percussion/noise), Matthew Friesen (guitar/bass/percussion/noise) and Kevin Stevenson (drums) hail from Canada and vocalist Daniel Jansson from Sweden. Despite the distance and Jansson never having met the other three, Culted operate as a unit, at least musically if not spatially or temporally. Their shared vision resulted in debut Below the Thunders of the Upper Deep and 2010's Of Death and Ritual EP. Four years have passed and now Culted return with Oblique To All Paths, a stunning example of the way doom can be the most powerful form of expression.
For over an hour Culted envelope the listener in a vast array of emotions through layers of guitar, bass, noise, ambience and savage vocals, starting with the 19-plus minute “Brooding Hex”. Beginning an album with its longest track (of 7) is a bold move but it never feels stagnant and so it keeps pushing the listener forward until it circles back around to the main riff. A riff that inspires dread through its immensity. As with most of the album, elements drift in and out, back and forth, balancing the heaving might with elegant beauty. It's like getting a glimpse of hope through oppressive clouds heavy with discontent.
“Illuminati” takes a more forceful path. Thunderous doom with a more classic bent, driven by a momentous riff, simple yet effective. Just as the Illuminati is multi-tiered, the track is stacked with layer upon layer of dry feeling (tonally) riffs, ambient noise and Jansson's equally dry yet harassing vocals.
“Intoxicant Immuration” sounds like defeat. It's slow, brooding cadence pulls you deep into the pits of despair. It's so melancholic you can taste it, before rising from the depths to imprison the listener within walls of massive doom and disconsolate melody.
Culted's melodic and varied darkness carries through the album's later half as well. “March of the Wolves” purposeful cadence leads in to the noisy “Distortion of the Nature of Mankind” and the weathered “Transmittal”, a track bleeds with more progressive and experimental vibes yet remains ungodly heavy in unexpected ways. The track is swollen with drama and shifting moods leaving the listener beaten and exhausted.
Closer “Jeremiad” brings Oblique To All Paths' harrowing journey to its conclusion. Its slow and methodical doom is threaded with industrious noise and a cursed malevolence. As with the rest of the album, its shifting moods resonate deeply making its integration with the soul complete.
Nothing about Oblique To All Paths can be taken for granted. Culted's commitment to the expression of anguish, pain and isolation is unwavering while refusing to follow the path laid before them. The use of nuance, atmosphere, ambience and variation is reverent and painfully affecting. It's also telling of the care and engagement essential to its creation. After a multitude of listens Oblique To All Paths continues to blossom, revealing untold depth beneath its suffocating doom, making it unquestionably essential.
Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.
I can't say I wasn't expecting a challenge when approaching From All Purity, the newest from Chicago doom miscreants Indian. But I wasn't expecting a challenge this great. The title is apt as the album has had purity stripped from it. It's unclean, dark and tainted with the stain of unsanctimonious hostility. It would be easy to bandy about using half-clichéd buzzwords to describe the nearly 40 minutes of filth on hand but one is left with no choice. Because they're true.
From All Purity consists of six misanthropic administrations of contempt, so bleak and caustic as to be practically indigestible. Indian's excruciating doom raises spires of hatred and discontent at every turn. Their slow, torturous and droning riffs suffuse the listener with a feeling of unending dread. One feels trapped beneath a seething, writhing mass of negativity. The unyielding repetition feels explicitly Sisyphean, and equally as frustrating. The merciless beating laid upon the ears with mechanical persistence is enough to drive lesser men/women to the brink of annihilation.
Indian give no quarter vocally either. Astringent screams reign supreme. A sad desperation bleeds from the voice of a soul-sucking wraith. The terror inherent in these vocal ministrations is inescapable but one may sometimes wonder whether the voice is that of the prisoner, or of the captor. Most likely both are one and the same. Without a lyric sheet one cannot be entirely sure, but one can sense a delitescent intelligence behind the virulent rasp. There is no relief from those vexatious screams rife with pain and misology.
Woven betwixt the oppressive doom and distressing vocals lies a terrific low rumble, permeating the album with a burning intensity. It feels like a volcano spewing molten nightmares and coating the world in ash. Agitating and insectile noise also rears its misogynistic head, irritating and pestering like a mosquito in the dark.
From All Purity begs for a stout heart and sound mind lest the ponderous, mind-numbing doom, simmering, acerbic noise and apocalyptic vocals be the vehicle for your ascent beyond the mountains of madness. Indian's incessant doom, harsh noise and vocals radiant with anger indeed present a challenge. May perseverance be your strength, for the bittersweet reward is not without peril.
Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @KingdomofNoise.
If you’re reading this webzine and you don’t know who Skeletonwitch are, you need to reconsider everything about your life. For 10 years now these Ohio boys have been putting in the hard work and have become one of the most respected bands in metal. One could say metal fans have formed a bond with the band as strong as a marriage built on love, trust and communication. We love Skeletonwitch and they love us. This is fact. We can trust that every couple years Skeletonwitch will release a killer album. And as for communication, these relentless road dogs provide ample opportunity to chat them up as they rack up the miles to play just about everywhere. The traditional gift for a 10 year anniversary is aluminum, so buy the guys some cans of beer already! Or at the very least buy Serpents Unleashed, the ‘Witch’s new firestorm of super-heated, flesh-rending metal. Is that title a euphemism?
For 11 tracks averaging just under three minutes each, Chance Garnette (vocals), Nate Garnette (guitar), Scott Hedrick (guitar), Evan Linger (bass) and Dustin Boltjes (drums) plow their way through your speakers with all the force they exhibit in the live environment. Kurt Ballou’s production brings out all the clarity of the four talented musicians as well as all the horror inherent in Chance’s phlegm-wracked rasp. What really stands out is the footwork of Boltjes. That furious double-kick is spot on every time. Absolutely flawless. Coupled with his partner-in-rhythmic-crime, Linger, that end of things holds up on par with the twin guitar attack of “N8 Feet” and “Scunty D”. That pair has shared a little more of the writing duties on this go ‘round and it’s blatantly obvious they are operating on the same tight wavelength.
On Serpents Unleashed, Skeletonwitch do what they do best. Blistering rhythms abound at full sprint without knocking the sense out of you. By which I mean the riffs are very, very memorable. Especially on tracks like “Burned from Bone” and “I Am of Death”. The latter slowing the pace a bit so the melodies really show through. As pummeling as Skeletonwitch can be, there’s always that catchiness. The blackening of their thrash/NWOBHM is most apparent on “This Evil Embrace”, which oozes atmosphere during its opening moments, and via the windswept tremolos on “Born of the Light That Does Not Shine”.
Serpents Unleashed takes what Skeletonwitch is to the next level. They’re leaders among men at what can best be described as simply “metal”. Undeniably quality metal. Until next time, do as Chance says and “Drink beer! Smoke weed! And eat pussy!”
Matt Hinch lives an unassuming life on the backroads outside Forest Mills, Ontario, Canada. He packs in as much metal as he possible can amid factory work, raising three daughters with his wife and working the land. In addition to Scratch the Surface Matt also writes for Hellbound, Ghost Cult Magazine, About Heavy Metal and his own blog, Kingdom of Noise. Keep up with him on Twitter @MetalMatt_KofN.
Two years following the release of 'Kosmonument', a release that bridges the gap between psychedelia and black metal, Finnish act Oranssi Pazuzu are at it again with 'Valonielu'. Since breaking into the scene with their first release, 'Muukalainen Puhuu', these Finns have never shied away from the avant-garde and bizarre. They embrace it. Their third LP is sure to turn some heads with hypnotically catchy songwriting and off-kilter structure, something they have become accustomed to.
A droning keyboard lead ushers in a powerfully catchy riff on “Vino Verso”. This isn’t the standard black metal. There are no crushing blast beats. Instead, Oranssi Pazuzu belts out New Wave focused hooks with synth pop jangles. Jun-His’ vocals, raw and raspy, are beckoning warcries, howling out lyrics in his native tongue. The svelte riff slithers onward with the jazz-like drumbeat as layered keyboard leads texture the track. Creating a trance-like state, Oranssi Pazuzu sails to the end of the track with house music-like keyboard leads, finally ending with a little smidge of drone. “Tyhjä Temppeli” showcases the band’s New Wave leanings. Oranssi Pazuzu reached into their bag of tricks and what came out was a complete jam of a track. Mesmerizing and catchy, “Tyhja Temppeli” wafts along, carrying with it a krautrock-meets-postrock vibe. Sickeningly sweet keyboards glaze over the track; the drums march onward with beautiful guitar overlays to fill everything out. Oranssi Pazuzu breaks everything open like ripping the skies apart, ushering in mighty strikes of noise with serious bite to them, before calmly settling back into their groove. “Reikä Maisemassa” is four minutes of psychedelic groove. They create an awkward, disjointed picture; unsettling beats meet a spacey atmosphere, and before long, droning noise begins to creep in. Off in another world altogether, Oranssi Pazuzu not only smash barriers on their music, but reform them entirely, creating something haunting and mystical.
The last track, “Ympyrä On Viiva Tomussa”, combines everything together in a nice but lengthy package. Clocking in at fifteen minutes, the Finnish quintet blends Darkthrone riff techniques with the same kind of New Wave flavor. The track branches off in multiple directions, culminating in a gigantic climax of tremolos and awkward drum patterns. The keyboards and guitars clash against each other for superiority as Jun-His’ vocals let out shrill, forceful screams.
Oranssi Pazuzu cater to the weird. They create songs that cannot simply be black metal. With 'Valonielu', their penchant for psychedelia and New Wave shows. An amalgamation of all these musical stylings, it’s an album that bridges gaps between art rock and black metal. A fully creative and artistic effort that shouldn’t be passed up.
Watain seems like one of those bands we assume are important because everyone else does too. As soon as release copies of 'The Wild Hunt' went out, journalists debated it on twitter, because that’s almost what we were supposed to do, right? Merits of the album in a changing black metal landscape or no, it was sold to us as the album for metal fans to talk about this summer.
In a sense, this worked. It received big write-ups on sites like Pitchfork, and debuted in the Billboard 200 chart in North America. Now, a proudly-satanic band dropping a top-200 album would have caused a stir in the mid-80s, but either due to the decline of sales or a cynicism about evil or the conversion of all Christian Mothers associations into debased cults of our southern lord, this just registers as another reason why we’re supposed to be paying attention to Watain. After all, it’s big, right?
But at the end of it, 'The Wild Hunt' is still an album, and Watain a band, whether they smear themselves with the blood of the unborn onstage or not. And frankly, I had to get past all the hype, and even the expectations of other music journos, before I could enjoy Hunt on its own terms. And yes, I did say ‘enjoy,’ because in many ways Hunt kicks ass in an old-school way, all sneering guitar solos, cheesy lyrics and hammerhead riffs, aiming for cheap seats that are probably only about 20 feet from the stage, anyway.
My first step toward appreciating these songs was to get out of my house. I listened to it a lot driving to and from work, gathering a few weird looks in the process, and I was struck by how much rawk was in this album. For a band that takes itself so seriously in print and presentation, Watain are masters of cheesy thrills. Chugging guitar lines can be fist-pumped to, solo sections sound like they should be accented by onstage fireworks displays, and once “The Child Must Die” really gets going it more than resembles the Power Rangers theme song. “Outlaw” even opens with straight caveman grunts. Instead of the insanity and claustrophobia of its peers, Watain offers a vision of black metal you could blast at a particularly kvlt barbecue.
In 10,000 years, when the whispers of our internet communications long outlive us and travel to the farthest edges of the galaxy, aliens will know at least one thing: people sure had a lot of opinions about “They Rode On.” It forms the thematic centerpiece of Hunt, describing an endless touring lifestyle and the desire for stylistic evolution on the part of Watain. It also comes wrapped up in an 80’s metal ballad that could have been written by Poison. You can probably guess which of these aspects has caused so much opining. For my part, I’m indifferent; the band clearly accomplishes what it means to, just in a style I have no affinity for. Clean vocals interlock with flanged guitars and simple, weeping melodic figures in a mode new for the band, if not for music in general.
But doesn’t that describe Hunt, and Watain in general? They’ve been ‘innovating’ within the band for over 10 years, even if that just means picking up the best of Bathory and Dissection and adding a coat of stage makeup to make it a ‘BIG IMPORTANT EVENT.’ They’re certainly good at it, and that may explain why a very retro album like Hunt has been pitched as something new and progressive. These are fun songs, certainly, but undermined by groundless expectations that Watain will be a band it cannot possibly, and definitely doesn’t want to, be. Come at it with an ear for enjoyment, however, and I think you’ll be surprised just how much you’ll like Hunt.
Rob Rubsam is a freelance writer and itinerant resident of Upstate New York. His writing about music has been published at CVLT Nation, Tom Tom Magazine, The Rumpus, Burning Ambulance, and others. When not contemplating giant squids or erecting a standing stone in his backyard, he tweets at @millenialistfun. Do not contact him with your black mass-related inquiries, please.
With a gurgling introduction that opens the album, Meilenwald throws the listener into the darkest depths with a nine minute epic, “Daemon”. Slow, dooming riffs chug along as a neatly tucked organ bellows in the background. Meilenwald’s vocals are grotesque and raw, spewing such blackness and filth. The vocals rapidly change from dark, black bile to throat ripping registers, blast beats fire off in rapid succession, culminating in a slow moving crawl towards the end; what was once a light at the end of the tunnel, Meilenwald throws the listener back down into the gurgling pool of wretchedness.
“Malefica”’s middle portion contains another organ piece, and before long the listener is thrust into the bleakness once again. The vocals, steeped in venom, juxtapose nicely against the airy atmosphere the music has created. Layered instruments wash over the track; guitar leads flow beautifully against the harshness of the vocal tracks. “Spires, The Wailing City” is full of texture and clarity; blending elements of noise with the ever dooming riffs, Meilenwald crafts such a dark, ominous landscape. The drums of war pound away, coupled with what feels like the conjuring of the Devil. It’s a massive buildup in the middle of “Spires” that breaks itself down once again, opting for something slow and fearsome. Although this is the M.O. of Meilenwald; the dreary, suffocating atmosphere made by intensely sludgy riffs, the miniature build up is a let down. There’s no rapture here, only the continuous push down further into the dark.
“Trial” and “Ordeal” are the shortest tracks on the album, each spanning about four minutes in length. The former is used to create atmosphere, which Meilenwald does with great success. “Ordeal” is a traditional black metal piece, filled with blast beats upon blast beats; a nice break from the same chokehold that is the thick, mire-ridden riffs. The opus closes with “Monument”, another stick-in-the-mud slow dirge that ends with some post-rock flavor.
Meilenwald and his vision for Ruins of Beverast seems to favor the ruthlessly heavy, mind-bendingly slow riffs. On 'Blood Vaults...', this idea comes in spades. There are more interesting acts in black metal these days, creating wondrous atmosphere through scope and texture. While 'Blood Vaults...' contains moments of such texture and the overall feel of the album centers around riffs full of actual dread, Ruins of Beverast favors these doom oriented riffs. It’s passable at best, but for fans of this kind of black metal it is sure to be a pleasure to sit through.
