[ALBUM REVIEW] (aura) - Invisible Landscape

1. the furious march
2. vacuity
3. katharsis
4. parallel worlds
5. flowing textures
6. two steps for the gods
7. the faith woods
8. the frozen enchant of warmth
9. warm winter
10. cloud colossus

Rather than just being another run of the mill ambient/post-rock act, Portugese band (aura) have decided to shake things up a bit here, rather than doing what most bands do such as creating the music in their heads and then developing an image from that , (aura) have opted to do things the other way round first. Start out with the images and construct the music out of them. Andre has selected a few chosen works from photographer and fellow countryman Jose Ramos and attempted to build a story connecting the photographs (which are in the booklet) together in a sequence. Certainly intriguing to say the least, as the concept is something I’ve never come across before, but one which (aura) have left me interested in hearing more.

The influences on Invisible Landscape are vast; I can hear everything from Massive Attack-styled trip hop to echoes of God is an Astronaut and even contemporary classical. It’s an ambitious record and doesn’t really slot properly into one single genre, it’s extremely dynamic and compelling with a surprising amount of variation for ambient influenced works. From the fragile serenity of the oceanic lull of “The Furious March” and “Vacuity” right through to the glowing electronic overtones of “Warm Winter” and impending nature of “Cloud Colossus” it coils a mesh round you right from the very beginning. One special thing to note about “Cloud Colossus” is that it’s the only song on the album with vocals, which was a surprise as vocals in this style of music full-stop are a rarity. I would go as far as to say this is my favourite track on the album, the sombre guitar picking with the distortion and almost post-punk styled vocals works extremely well together, and as much as I love my post-rock, I would love to see the band continue down this route.

Invisible Landscape is a great debut effort by this Portuguese act, they manage to blend all the different styles together pretty much seamlessly and the whole album has a great continuity about it. The music does fantastic justice to the photos which I must add, are absolutely stunning themselves. It may not hit you at first listen, it didn’t for me, but then this is one of those albums you have to sit down alone and listen to with headphones in and immerse yourself in it. If ever there was a better argument against the mp3 fad, this is certainly a good one, for without the booklet, it wouldn’t even be half as enchanting.

85/100


Myspace

[ALBUM REVIEW] Negative Plane - Stained Glass Revelations

1. The Fall
2. Lamentations & Ashes
3. Angels of Veiled Bone
4. The Third Hour
5. The One and the Many
6. Charnel Spirit
7. All Souls
8. The Number of the Word
9. Stained Glass Reflections
10. Stained Glass Revelations

Et in Saecula Saeculorum caused quite a stir in the underground back in 2006, and not without good reason. Out of the blue, this album appeared and floored everyone. Why? The fact that something so ingenious and erratic was still possible in a genre in which many have dismissed as exhausted through and through of anything innovative and original. This is true to an extent, black metal is a genre which has been suffering majorly from a drought of inspiration of late, though occasionally a band comes along every once in a while to try out something new and against the grain. Sometimes it works, but more often than not it doesn't and said band fades away to languish in obscurity. This is always going to be the way because black metal fans more than most are always skeptical of changes, they can be a tough bunch to satisfy at the hardest of times. This is where Negative Plane come in. If you've ever listened to a band for the very first time, and after one listen to the album sat up and thought to yourself “Wow, this is unlike anything I've ever heard before, yet absolutely astounding; these guys are going to be big” then you've felt the same as to what I felt when I first heard Negative Plane. They retain enough of the traditional ethics and basis of traditional black metal and fuse it with a bizarre amalgamation of gothic horror and archaic styling that will unite even the most fickle of black metal fans.

Picture yourself in a vast cathedral, enshrouded in an ancient horrific mist, gradually dragging you down into a fear induced delirium, a swirling myriad of primeval voices strangle the remains of any rational thought you may have left like the rat in it's dying throes to the python. Extravagant, yes, but an album such as this deserves nothing less. I have heard various people liken it almost to a Lovecraftian horror soundtrack, and in a way there could not be a more apt definition for the sound of Stained Glass Revelations. It's ominous, foreboding and terrifying, yet at the same time it has this almost ridiculous macabre carnival-esque atmosphere. This is due in no small part to the contributions of Nameless Void, who provides both the guitar work and the vocals. The guitar is swathed in layers of reverb and with the slightly more prog route they have taken in regards to the guitars this time around they have veered off into a more definitive psychedelic route, something along the lines of “A Church in Ruin” off their debut. The sheer variation and multiform nature of the guitar work is astounding, no second riff is ever the same, one minute NV is playing something similar to Celtic Frost, the next it's a totally abstract guitar lead where every note reflecting off every corner of your mind. I mentioned Celtic Frost before, and they probably are one of Negative Plane's main influences. Certainly on the debut at least, maybe less so on this album which is so unique it's a challenge in itself to try and compare it to anything. At times the album doesn't even sound metal, as I stated before at points it morphs into something almost like dark, twisted circus music, and the vocals of NV are the voices of cast; twisted and unhinged and spitting corruption. “The One and the Many” is a great example of this, rising and falling around the vocals of Nameless Void. The bass and drum work definitely shouldn't be ignored either, the bass resonating beneath the chaos above it and one of the main components of the overall atmosphere, while the drumming is best described as extremely unpredictable and unconventional. Bestial Devotion is a big fan of his cymbals, chaotic and complex at the same time with no holding back on the quality.

The atmosphere pours out of this record in waves, it's an atmosphere not dissimilar to that of Drawing Down the Moon or De Mysteriis Dom Sathanas, one which is extremely dense, ambiguous and warped, an atmosphere that completely makes the album what it is. They also are one of the few bands who actually manage to use interludes to their full effect and not just for aimless filler, using them to build the suspense in between each song, and avoid using shitty samples and actually composing the interludes themselves. If I had to pick one song which would sum up the album thoroughly, it would be the enigmatic “Angels Veiled in Bone”. As dark and as depraved as the dungeons of Hades while throughout it all flicking a wry smile. Grandiose riffing and chromatic leads, psychopathic vocals and an atmosphere that puts almost every other band out there at the minute to shame.

With Stained Glass Revelations, Negative Plane move up to the top rung of the ladder and it would be a horrendous injustice if they don't get more recognition on the back of an absolute gem such as this. The move in a more psychedelic direction was an utter masterstroke by them, but I still don't think it's their 'pièce de résistance' as such, because I honestly think they have even better in them. I guess only time will tell. A work of unassailable genius. Obscure, mysterious and at times downright petrifying, all the while wearing a masque of perverse humour. Two words; get this.

99/100

Originally written for Metalcrypt

Buy it!

[ALBUM REVIEW] Todesweihe - Necronomicon Ex Mortis

1. In den Nachthimmeln Transilvaniens
2. Tränen des Dionysos
3. Mit einem Herzen voller Verachtung
4. Instrumental
5. Das Sterben
6. Return of the Necromancer
7. Nacht des Werwolfes
8. Das Schloss
9. As Flittermice as Satans Spys
10. Mit einem Herzen voller Verachtung (live)
11. In den Nachthimmeln Transilvaniens (live)
12. VON (live)
13. Nacht des Werwolfes (live)

Every genre of metal has its own group of wide-eyed imitators aiming to recapture the sound of their heroes, it's part and parcel in the process of evolution within a given genre. On one hand you have the bands who bring new concepts and elements to the traditional sound, and then on the flip side, you have bands who have no qualms replicating the sound of their idols note for note. Todesweihe sit firmly on the latter side of the coin, and having read that they've previously played with Warloghe and Inquisition, two fairly reputable bands, first impressions were positive. But it's all downhill from here.

From the 'I'm too lazy to come up with an original cover so I'll just use the old faithful Gustav Dore' option to possibly the second most covered Darkthrone song ever, everything about Necronomicon Ex Mortis (or rather the sound of Todesweihe as a whole as this is a compilation) is amateur, derivative and downright tedious. Refraining from just pressing the stop button as I sat through this was frustrating to say the least.

Necronomicon Ex Mortis is a compilation of their second demo, Nachtmahre, their EP and a bunch of live tracks, but reviewing them separately would be fairly redundant as each song is equally as excruciating as the next. The vocalist does his best to capture Nocturno Culto's ice cold rasp and it does come slightly close but lacks in delivery and no amount of reverb will mask that. It's the best aspect of this release, but when placed against the guitar work and drumming, that's not saying a lot at all. The riffing is insipid and just flat out weak, following the three chord tremolo pattern but containing no discernible qualities whatsoever, none of Darkthrone's signature 'cold' sound or catchy riffing. For the most part it sounds like a couple of kids in their garage miserably attempting the “Transylvanian Hunger” riff over and over again. The drumming is no better either, haphazard, sloppy and lacking any sort of variation or timing whatsoever, anymore and I'd be wasting my breath.

The two EP tracks off the Nachts am Alten Friedhof release are of better quality than the rest, only marginally though, and are what save this release from getting an embarrassing score altogether. Whenever Todesweihe slow things down, they are actually surprisingly listenable. The guitar tone has some muscle to it and the music doesn't sound like a washing machine stuck on spin. Unfortunately this is only present on the two EP tracks. As for the live tracks tacked on at the end, they aren't even worth discussing at all. I guess if you're a completist they might be of some value.

Todesweihe may need to reconsider their vision of what they want to be if they're to make any sort of an impact, because as a Darkthrone clone, it doesn't work. There are much better bands out there who do it so much more effectively. They need to find the appropriate balance between their infatuation with Darkthrone and some distinct element to set them apart from the others. At the end of the day this is all demo material, so the shoddy production can slide, but it's still no excuse for crap music.

17/100

Darker than Black"

[ALBUM REVIEW] Nachtvorst - Stills

1. Dawn of End
2. Murmurs
3. Stills
4. Wandering
5. Epitaph

Whenever someone metions Dutch black metal, the first bands that initially come to mind would be Countess and Urfaust. Not one of the Netherlands most productive genre's that's for sure. Nachtvorst's debut album Stills, released by Black Devastation Records in 2009 presents an extremely fresh perspective on European underground black metal, for it's compelling approach at blending the 'post-' with the 'depressive'. And for an attempt at blending in a style of which is for the majority American by name and nature, it's a commendable effort.

With four tracks no fewer than eight minutes long each, and an instrumental thrown in for good measure, Stills is no easy listen. Everything from funeral doom, sludge, death, depressive black metal and even post-rock is present in Stills, it's an assorted mix of genres which when combined most of the time can just sound awkward, but Nachtvorst manage to execute it well. Right from the off, opener “Dawn of End” comes crashing down like a colossal wave of misery, constantly lashing away with the ebbing guitars and heavy bass. The bass is prominent throughout the whole album, which is something which helps gives Stills a touch more identity. It contributes a great deal to the ominous, asphyxiating atmosphere Erghal and Leopold are aiming for. And talking about a crushing atmosphere, one listen to track two “Murmurs” and you're utterly crippled. It's nothing more than a crude wall feedback and bile encased distortion of guitar and hellishly low bass. It's no easy listen and I can certainly hear a bit of SWANS influence among others here.

The final three tracks are more in the traditional vein of black metal but it's the constant diversity in every aspect of the music that keeps Stills so engaging. “Wandering” would be without a doubt the best track on the album, and at times feels like it could have been an outtake from Storm of the Light's Bane. It's one of the more 'upbeat' tracks of the album if you could call it that, and in total contrast, closer “Epitaph” is pretty much just that, with it's roots firmly buried in the depressive black metal scene with it's hollowed out guitar lines and fervent desperation.

Whether it's Leopold's transitions between his higher pitched nail spiked shrieks or his guttural death growls more akin to something off a Dismember album, or the guitar riffing ranging from traditional tremolo riffing, to post-rock interludes to dirging sludgy passages. If you're one who complains about black metal being too monotonous with lack of variation and talent then I can't recommend this album enough. For the majority it's a slow paced, meandering behemoth of oppression, ranging from depressive black metal to sludge and everything in-between, and definitely makes Nachtvorst one to watch for the future.

85/100

Website

Orignally written for Metalcrypt

[ALBUM REVIEW] Slough Feg - The Animal Spirits

1. Trick the Vicar
2. The 95 Thesis
3. Materia Prima
4. Free Market Barbarian
5. Lycanthropic Fantasies
6. Ask the Casket
7. Heavyworlder
8. The Tell-Tale Heart (Alan Parsons Project cover)
9. Kon-Tiki
10. Second Coming
11. Tactical Air War

Slough Feg are one of those bands who deserve a lot more recognition that they have, eight full lengths of immaculate, classic heavy metal with a quirky manner and saturated with energy, there's really nothing to dislike about them. Toiling away in heavy metal's semi-underground ranks for the past twenty years now, Mike Scalzi has been around a bit, although you wouldn't think it as they sound just as fresh now as they did with the self titled fourteen years ago.

With The Animal Spirits now their eighth full length release and third in four years, they appear to be drawing from a freshly discovered pool of inspiration. I will admit I was slightly apprehensive as to the quality of material on this, as Hardworlder had a noticeable dip in quality to the previous material, and Ape Uprising wasn't a heap better, bar one or two outstanding tracks peppered here and there. Ever since they cut “The Lord Weird” from their name I felt there was slight decline in their music. As soon as the album had finished playing though, I felt the need to hit the repeat button straight away. This was the true Slough Feg I used to know.

It's not quite as immediate as their golden works, none of the songs jump right out and shout 'classic' like “Vargr Moon” or “Sky Chariots”, The Animal Spirits is a lot more subtle in it's execution with the grainy almost warm riffing taking time to pierce you with their doom tinted talons. Scalzi's vocals are as you'd expect them if you've heard Slough Feg before, his signature drawl with a slight nod to cult U.S. Metal hero Mark Shelton. It's primarily his unique vocals that set Slough Feg aside from everyone else, he's always been in a completely different league than most when it comes to his vocal abilities. Take for example the patterns he utilizes in “Second Coming” or even “Free Market Barbarian” with a chorus as good as such hasn't been heard in a while from these guys. But let's not just heap all the accolades and acclaim on their iconic frontman, Harry Cantwell's drumming is intricate yet not overpowering and complementing that 70's hard rocking groove created by Adrain Maestas' crude throbbing basslines and the guitarists Thin Lizzy-esque riffing. Song's such as “The 95 Thesis” and “Heavyworlder” both hark back to the days of Traveller yet at the same time have a unassailable uniqueness to them, an almost primal feel which is present throughout the whole album. Plus “Tactical Air War” has Bob Wright from Brocas Helm on vocals, one of the bands who has played the biggest part in Slough Feg's sound. How can you possibly beat that?

There's one thing you can always count on the 'Feg for, and thats the outlandish and ridiculous lyrical themes, here we have song's about vampire love, shameless puns on religion and Mike even has time for a brief spot of reminiscence in “Second Coming”. Unfortunately there isn't anything about canine space ship pilots. Maybe next time eh? The Celtic influence is even greater this time round and a major factor in the improvement in the quality of the material on this release, this is their 'softest' release yet, for want of a better word and has more in common with the celtic icons Thin Lizzy than anyone else really. At times it remains refined yet bewitching, and others saunters on in a hazy drunken swagger. This is right up there with Down Among the Deadmen and Traveller, and if you thought the previous two were a bit drab, sweep them under the carpet and buy this!

92/100

Originally written for Archaic Magazine

Myspazz Offical

[ALBUM REVIEW] Chelmno - Horizon of Events

1. Intro - The Lament from the Horizon of Events / Raging Eagles
2. Dance of the Shadows
3. Four Fucking Wolves
4. Astral Journey
5. Into the Fog
6. Seeking Inside the Memory
7. Silence Squadron
8. Old and Cold

Chelmno play some of the most raucous, dis-harmonic black metal you are likely to come across. Harsh and downright primitive, Horizon of Events is the second outing by these Italian chaos merchants. Veering closer to Clandestine Blaze territory with the sheer filth clad attitude to their take on black metal, Horizon of Events isn't going to be one for your casual fan of black metal. Stormlord this is not.

Take Darkthrone at their best and early Graveland and completely remove the bottom altogether. There is a bassist credited on the release, and call me a cloth eared false if wrong, but I struggle to hear anything remotely resembling that fabled four string instrument. I know production and lack of bass is common place in obscure black metal but when I mean the production on this release is bad, I mean it is absolutely fucking horrible, not quite transcending Ildjarn boundaries yet though. Luckily for Chelmno though, the music is downright brilliant.

I'll admit, the cover did throw me at first, I was hoping for something similar to Kataxu or even Darkspace, but I'll certainly take this though. Right from the opening drone of the intro right through to the fade out of “Old and Cold”, Horizon of Events is thirty seven minutes of almost punkish riffing which at times is disgustingly catchy (see “Four Fucking Wolves” circa 2:20) and others totally malign and immersed in feedback. Repetition is used tactfully and within reason throughout, remaining just long enough to envelope the listener in the austerity before transforming into another riff before ever becoming monotonous. The songs range from the higher tempo (early) Bathory-esque punk influenced numbers to longer mid paced numbers such as “Into the Fog” which is rather more gradual and foreboding. Asides from the fantastic guitar work here the other stand out element of Chelmno's sound is the drumming, performed by Vidharr of Tenebrae in Perpetuum fame, who effectively dictates the tempo of the music with the drumming acting as the backbone. It's simple yet at the same time alternates frequently throughout each song, avoiding many of the snares other drummers get caught up in. The vocals are typical to most underground black metal, they float about just behind the guitars and appropriate enough. Not amazing by any stretch but fit for their purpose.

When I first approached this record I was hoping for something 'atmospheric' you could say, and that's what I got, but not in the manner I anticipated. Syrupy keyboards and clichéd sampling foregone in favour of the more traditional form of creating an atmosphere of blood curdling malevolence solely with a guitar, a set of drums, a voice and that elusive bass as well; that takes a whack more talent than some idiot playing with his downloaded nature sounds CD. This album wont appeal to everyone, not least because of the drab attempt at production, but I suppose in a way it adds character to the release, but I still think a lot more muscle could have been put on the guitar tone and the bass turned up to an audible level, if it's there at all. As for the music itself though, it's an illustrious attempt a style of black metal which is becoming somewhat endangered of late. Definitely one for the fans of Clandestine Blaze, early Bathory and Graveland.

79/100

Sun & Moon

[ALBUM REVIEW] Massemord - Notes of Antihate Profound

1. Cognition of Fear
2. Masskilling Masshealing

Notes of Antihate Profound is a short two song EP by Polish black metal stalwarts Massemord. Active since 2000 and with three full length albums already on the mantelpiece, Massemord know what they're doing. They've been around long enough to establish their name as one of the more relevant and successful acts to come out of the Polish scene in recent years.

First thing's first, if you have heard Massemord before, then you should know exactly what to expect, for the two tracks on this release follow exactly the same procedure as before; hammering the shit clean out of the drums until they're obliterated, traditional styled tremolo riffing and raw scathing rasping vocals straight from the book of Legion. “Textbook definition of old Marduk?” you say? Almost but not quite. The comparisons are inevitable to anyone playing this style of Black Metal these days but the two song's “Cognition of Fear” and “Masskilling Masshealing” are saturated with dynamic and pulverising riffs speared by Namtar's savage vocals, and conjure an arctic, knife laced atmosphere to boot, which is where so many of these bands fail. It may follow a fairly washed-out formula, but Massemord are one of the few in the small percentage who can pull it off without sounding completely derivative.

Notes of Antihate Profound is extremely well performed on a whole. It is only an EP so it was always going to be short, but I suppose is an apt showcase of the bands sound, because the rest of the material doesn't differ from this at all. It's the band's forte for being able to create some distinctly impressive riff driven black metal that snared me. No it's not original or revolutionary, but it will fill a gap and is certainly more than engaging. In short, fans of Marduk will love this short chaotic release of unholy violence, for others who aren't too sure, it's a good sampler of what the rest of their releases have to offer. One thing though, have they been taking lessons from Dimmu Borgir on how to name their releases?

80/100

Website

[ALBUM REVIEW] Agalloch - Marrow of the Spirit

1. They Escaped the Weight of Darkness
2. Into the Painted Grey
3. The Watcher's Monolith
4. Black Lake Nidstång
5. Ghosts of the Midwinter Fires
6. To Drown

Possibly one of the, if not the most highly anticipated album of 2010 finally hit the shelves in late November. Their unique brand of heavily post-rock influenced Black/Doom hybrid has earned them a substantial following in both metal and non-metal circles alike. So how does their first full length since the majestic break through album of Ashes Against the Grain fare then? Well put simply, it's not a disappointment in the slightest.

There's no denying black metal has been somewhat finally making waves into territories never considered viable before, and depending on your outlook this is either 'about time' or heresy of levels unimaginable. Many hate Agalloch solely for this reason alone, they along with bands like Alcest and Wolves in the Throne Room have introduced what they would describe as 'undesirables' into their sacred genre, and frequently used the scapegoat that they've been diluting the 'black' in their metal progressively since their début. Well that isn't a valid excuse anymore, as Marrow of the Spirit is probably the most 'black metal' album they've done.

The post-rock influences are still there, but the album is a lot more Katatonia and In the Woods than it is Godspeed! or Swans. The most notable casualty of the increase in intensity is the omission of John Haughm's clean vocals, as I always considered these a big part of Agalloch's identity. Enough of what isn't in the album though, because what is in the album is six magnificent tracks, dynamic, melancholic and yet compelling and still managing to retain that primitive heathen aura that's unmistakably Agalloch. The album starts out with “They Escaped the Weight of Darkness”, effectively a prelude to the album, and nothing more than a solitary cello over the sound of running water and birdsong. An appropriate mood setter but nothing overtly remarkable. The first proper track “Into the Painted Grey” is where the increase in intensity is most recognizable. From the blistering drumming of Ludicra drummer Aesop Dekker to the traditional black metal style riffing, it's Agalloch as vicious as we've ever heard them. Haughm's vocals never vary from his throaty rasp, but luckily enough, his harsh vocals are just as impressive as his clean. The guitar throughout the album is heavily layered with acoustic passages and leads seamlessly interwoven with the heavier riffing. Agalloch always had a penchant for long songs, and no-one does it quite so well. Each song remains highly engaging due to the effortless transitions between various sections in the song and the sheer diversity in instrumentation is but a part of this operation. Take for example the atavistic yet absolutely stunning “Ghosts of Midwinter Fire”, from it's serene, echoed opening notes right through to the ending of a climax which is not far off from something Mogwai would produce. The real pinnacle of the album comes in the shape of “Black Lake Niðstång” though the apocalyptic introduction with forebearing drumming, classical guitar passages and Huaghm's ominous whispering through a cold doomy centre of total desperation and bleakness ending in a mix of obscure electronic sounds and a more traditional black metal sound, it's Agalloch at their most downright depressing and is utterly emotionally draining. “The Watcher's Monolith” is one of the more upbeat numbers on the album and has more in common with the Agalloch albums of old than this and the closer “To Drown” in typical Agalloch fashion finishes the album leaving the listener totally entranced, and to be perfectly honest, could have easily been a Godspeed! song just as much it is Agalloch.

The album is unequivocally their most ferocious release to date, but it still retains that whole post-rock atmosphere they're famous for, more so in structure than sound this time around though. They pull off the whole untainted, primal earthen sound better than anyone else. This is mainly due to their influences from neo-folk bands such as Sol Invictus and Death in June. It may not be obvious in the music, but this neo-folk influence and coupled with the post-rock influence provide the base to Agalloch's sound, while the metal forms the backbone. Agalloch are unrivalled at what they do, and if you're a fan of that natural, ashen sound you probably need no introduction to Agalloch. But if not, and looking for the textbook soundtrack to the dreary, washed out portents of Autumn, I don't know a better album. Imitator's will come and go, some are better than others such as the likes of Gallowbraid, but at the end of the year Agalloch have come back just to remind everyone that they're still around, and to show them just exactly how it's done.

95/100

Myspace

[ALBUM REVIEW] Bahal - Ikelos

1. La Tormenta
2. Il Sentiero
3. Erebo 10:40
4. Il Bardo
5. Il Labirinto
6. La Rosa
7. Danza Del Crepuscolo
8. Tra Le Braccia di Morfeo


Obscure Italian Black Metal band Bahal unleash their latest offering, and with a logo designed by the renowned Christopher Szpajdel, virtuoso of all things spiky and symmetrical, initial reactions are fairly impressive. With a lyrical theme based upon ancient Greece, as evident from the title Ikelos, is a welcomed deviation from the typical satanic theme.

Bahal's sound is best comparable to an amalgamation of Satyricon, Necrophobic and most surprisingly of all Opeth. Frequent transitions between a headstrong assault of blasting and tremolo riffing, brief acoustic interludes and long guitar solos turn the stigma of all black metal being derivative and repetitive on it's head. It's certainly progressive in every sense of the word, but ends up ensnared in the most frequent and frustrating trap of so much progressive music; self-indulgence. Let me get this straight, Bahal is an extremely talented guitarist, the solos on this album are exceptionally good, but they're stretched out to almost ridiculous levels. You've only got to look at Peste Noire for guitar soloing performed tactfully in black metal, whereas with Bahal they're not added to compliment the music, rather merely the guitarist showing what he can do.

With that out of the way, this is actually a very good album though at times does tend to suffer from it's length. Some songs burn out before they even get going, and the opening track is not the strongest and “Erebo” is just flat out boring, but the second half of the album is a significant improvement from the first, most notably last track “Danza Del Crepuscolo”. Bahal's vocals are low and hollow sounding with a heavy swab of reverb, he actually sounds very like Sakis from Rotting Christ. The guitar has a significant shade of Necrophobic off it and has a good prominent tone to it.

Ikelos main faults lie within it's most standout feature, which is the progressive element Bahal is using. Reduce the length of some of the songs and some restraint on the guitar soloing and maybe then they'll have something special worth talking about. As it is, it's a promising and fresh perception on performing black metal, but more often than not just becomes sluggish and self indulgent. It's main weakness is that which makes it unique in the first place. There's a certain balance which needs to be found, but here the scales remain heavily skewed.

55/100

Website

Written for Metalcrypt

[ALBUM REVIEW]Astrophobos - Arcane Secrets

1. Divine Necromancy
2. Arcane Secrets
3. Crossing the Abyss

Swedish? Early nineties styled Black/Death Metal? That can mean only one thing, and that's Astrophobos play extreme metal heavily influenced by Dissection. Genuinely good Dissection worship is a difficult thing to come by, most recent imitators Thulcandra are so successful at completely replicating that sound they are basically featureless clones. While they can pull the sound off perfectly, they're missing that certain spark than others that came before them such as Vinterland or Sacramentum were able to emulate. Arcane Secrets, the debut EP by Astrophobos has the potential to put these rookies on the same pedestal as those aforementioned greats, and although I say rookies, make no mistake these three are far from inexperienced at this style of music. It may be their first release but according to the band they have been playing this style of music for years, and judging by the quality and professionalism of the music on this EP, I can well believe them.

The EP is extremely short, but being self financed and self released with no label backing whatsoever you can obviously forgive this slight shortcoming. Being completely DIY, the production's gotta be pretty amateur then? Wrong, nothing could be further from the truth. This is what struck me most about this release, how clear and polished the production is for a self-release. And no wonder whenever it's Peter In de Betou who did it. Also known for working with Watain, who have been known to dabble in a bit of Dissection themselves, at least he's experienced in the field. It has a lot more in common with The Somberlain era Dissection than it does Storm of the Light's Bane with more emphasis on the drumming and guitar work yet still retaining that melodic backbone. “Crossing the Abyss” for example, might as well have been a track lost from those sessions. The guitar work is as you'd expect it, slick and unmistakably Swedish in tone, with intense razor sharp riffing. Micke's vocals are oppressive and strong, as they should be, because Jon is an exceptionally hard guy to emulate. As for the drummer being seventeen, I find it completely fascinating at how developed his sound and technique is for such a young age.

According to the band they have a full length album in the works of which I will be waiting with high anticipation. Cover art from Caspar David Friedrich, and three highly impressive tracks kneeling at the altar of Dissection, what more do you want? A label needs to sign these guys up fast, because judging by the quality of material on this short but striking release, they're going to get a lot bigger, and more than just mere pretenders to Dissection's golden throne.

80/100

Website

Written for Metalcrypt