[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

2010 - The year in metal.

Well folks it's almost upon us, the end of 2010. Just like 2009, it has been an exceptionally good year for metal with some surprising releases both positively and negatively. There were so many great albums to chose from to try and squeeze into 15, but I've managed to narrow it down and here are my choices of what I believe to be the absolute best to showcase metal from 2010.

1	Alcest Écailles de lune The enigmatic Neige managed to perform the incredible feat of actually topping the band's debut, Souvenir's D'Un Autre Monde. This fantastic fusion of majestic yet unrelenting Emperor-esque Black metal and sullen shoegaze guitar passages comes together in scintillating fashion, eclipsing all the would-be imitators to their debut in 2007 and showing them how it's really done. And to be honest, I can't ever see anyone other than Neige himself coming anywhere near to bettering this style. Monumental.
2	Sargeist Let the Devil In This latest unholy plague unleashed by mastermind Shatraug exploded completely out of the blue and struck me senseless. Shatraug may be a bit of a vagrant when it comes to black metal, but when push comes to shove he does it extremely fucking well. Yes this is even better than Behexen. Uncompromising and beguiling, this is how black metal should be done.
3	Atlantean Kodex The Golden Bough I have a feeling this will be at the top of many peoples lists, and it's not hard to see why. The doom tinged epic metal of these Germans is straight out of the instruction manual of Hammerheart-era Bathory and Doomsword. If you thought The Pnakotic Demos was impressive, you're in for a surprise. The next time someone asks you to define metal? Just hand them a copy of this CD.
4	Inquisition Ominous Doctrines of the Perpetual Mystical Macrocosm A surprise addition for me here, mainly because I was never that big a fan of Inquisition. They often receive a large amount of flak for their comical image and ridiculous titles. It's slightly unfair as many pass them off without even listening to them because of this, especially when they've managed to release an album of this standard. Immortal worship at it's most pompous and grandiose without ever becoming self indulgent from these Columbian veterans.
5	Enforcer Diamonds The traditional heavy metal revival peaked in 2010, and while many bands were just looking back through rose tinted glasses and completely lacking in substance, Enforcer rose to the top of the heap. Quitely rightly so too, as with Diamonds, Enforcer have managed to carve out a sound of their own yet retaining all the pizzazz and attitude which made heavy metal in the first place. Dense, commanding and extremely catchy, Enforcer are an exciting prospect for the future and surely destined for big things.
6	Watain Lawless Darkness Sweden's satanic trio Watain returning in 2010 with the follow up to Sworn to the Dark, and continue the form that saw them so revered ever since Cacus Luciferi was unleashed upon us. Unashamed Dissection worship, only now with an added touch variation, it's the logical step forward from their previous release. They even managed to fit a fourteen minute blasphemous epic in the form of “Waters of Ain”, which features the legendary Carl McCoy. It may just be the best black metal song of this year.
7	Iron Maiden The Final Fronteir This is a band which need no introduction. If you know metal music at all, you know Iron Maiden. The Final Frontier removed any doubt about the band's ability these days since the disappointing A Matter of Life and Death. Kevin Shirley has worked a fantastic production here, and with the band's extremely progressive approach to the song-writing yet still retaining that unassailable identity which make Maiden who they are, they've produced their most memorable album since Brave New World.
8	Weapon From the Devil's Tomb A band who I've only recently come across, Weapon play caustic brand of blackened death metal. Blistering drum work and riffing with a bile draped atmosphere to boot, Morbid Angel are just as much influences as Mayhem. The alternation between blood blasted brutality and macabre processions are the record's forte. The Ajna Offensive have a seriously impressive roster, of which Weapon are another compelling addition to.
9	Aorlhac La cité des vents A high flier in my end of year list last year, Aorlhac have managed to return again this year with La cite des vents. Still spewing forth their own brand of Occitania influenced black metal with the medieval tendencies of Peste Noire, it's a worthy successor to Opus I. They haven't made the impression on the scene I imagined they would, but provided they keep releasing material of this quality, the breakthrough is bound to happen sooner than later.
10	Agalloch Marrow of the Spirit Probably the most anticipated metal album of 2010 finally hit the shelves in late November. Their brand of heavily post-rock influenced Black/Doom hybrid draws influences from everyone from Sol Invictus to Katatonia. There was extremely high expectation placed upon this release, but Portland's favourite heathen's have done it again. If you are looking for the textbook soundtrack to the dreary, washed out portents of Autumn, I don't know a better album.
11	Witchrist Beheaded Ouroboros Invictus have been releasing some extremely impressive albums lately, and this is top of the pile. Possibly one of the most downright putrid and unrelentingly heavy albums you'll hear all year, with insanely decadent gutterals from this esoteric horde. Genuine old school death metal with a big middle finger to the vapid facade of 'technical' death.
12	Kerapshorus Cloven Hooves at the Holocaust Dawn It's Helmkamp, need I say more? For those unfortunate enough to have completely passed by Order from Chaos and Revenge, primitive war metal tyrants James Read and Pete Helmkamp join forces once again to conjure up a release of nothing more than all out depraved violence. Comparable to no less than a bullet straight down your throat. Utter barbarism.
13	Christian Mistress Agony & Opium Bearing the Fenriz seal of approval, Christian Mistress and their take on classic heavy metal put many to shame on much bigger labels. The raw, DIY ethic and solo littered songs with Christine's enamouring vocals show all the self indulgent 'gothic' metal bands how proper metal is supposed to be performed, for here, the flame of the eighties is brighter than ever.
14	Briton Rites For Mircalla Hour of 13 mastermind, Phil Swanson joined forces with Howie Bently of Cauldron Born fame here, and though on paper it's hard to comprehend how it could possibly work, it does. Taking the blueprints from Black Sabbath and Witchfinder General, add an occult horror movie-esque atmosphere and Phil's unmistakable vocals and you get this; the best doom metal album of the year.
15	Winterfylleth The Mercian Sphere How could you not love a cover like that? Weathered atmospheric black metal in the same vein as Drudkh with a heavy acoustic slant to it, Winterfylleth are a gem in the British scene at the minute. Focusing on their Anglo-Saxon heritage rather than typical Satanic musings, it's a welcome change. Dynamic and brooding, yet exceptionally vicious as well, with The Mercian Sphere are cementing their place as important players in the UK scene.

2010 also threw up a few surprising disappointments...

1	Blind Illusion The Demon Master The Sane Asylum, an absolute thrash metal classic and one of the most sought after metal albums ever. This? A shocking, direction-less attempt at some sort of hippy grungy nonsense. Blind Illusion are about sixteen years too late with The Demon Master, and even then it still would have been shit.
2	Skyforger Kurbads Previously with four classic albums under their best, together with a seven year wait amounted to the second biggest disappointment of the year. With Kurbads, Skyforger diluted much of the folk that made them popular in the first place and downtuned the guitars to almost nu-metal levels at times. Boring and completely uninspired riffing and awful vocals from a band who should know better.
3	White Wizzard Over the Top They chose wisely in picking the title track as the single, because along with 40 Deuces, they are the only two decent songs on this. Utterly shallow and lacking in substance, Jon needs his ego deflating slightly, because he hasn't actually ever done anything noteworthy to warrant it.
4	Drudkh Handful of Stars Drudkh were, and still are a favourite band of mine, so when I heard the new album had begun to incorporate shoegaze into their sound, I was quietly grinning with anticipation. Then I listened to it. What shoegaze? Someone needs to read up on their definition of what shoegaze really is. Insipid riffing and a horrible sterile production, just what the fuck exactly have you done Drudkh?
5	Negura Bunget Vîrstele Pămîntuluis Not horribly bad as such, but when you put it up against the magical Om, it doesn't even come close. The Dordeduh EP was what this should have sounded like.

Written for http://www.metalcrypt.com

[ALBUM REVIEW] Heathen Foray - Armoured Bards

1. Armored Bards
2. The Blight
3. Bifrost
4. Ascension
5. Messenger of God
6. Endless Sorrow
7. A Brother's Tale
8. Walls of Vienna
9. Hopfen & Malz
10. Carthage's End

Naming yourself after one of Falkenbach's best songs is making a bit of a statement. So you'd expect Heathen Foray to sound somewhat similar to them then? Well that's not the case here, as Austrian five piece Heathen Foray have more in common with Dragonforce musically than they do Falkenbach. From a country that hasn't produced much else to many other than Abigor and Summoning, this is definitely going to be a welcome new arrival to some.

They are described as Viking metal, but I would take that label with a pinch of salt as the lyrics tend to deal with European history as a whole rather than specifically Viking themes. Hannibal and the fall of Carthage and the Ottoman's siege of Vienna are but two of the various themes dealt with here so it's not really Viking metal as such, I would hesitate that the term 'battle metal' would be more suitable to their style, in the realm of bands such as Turisas and Equilibrium. I've never viewed Viking or battle metal as legitimate genres, but that's a discussion for another time.

Take the stadium-esque death metal sound of Amon Amarth and incorporate it with the neoclassical sweeping arpeggios of Dragonforce and you've got the formula heathen Foray use. As much as I loathe to use the word when describing music, 'epic' is certainly one of the terms I would use to describe Armoured Bards overall sound. Opener 'Armoured Bards' is by far and large the best song on the album, perfectly suited to the live environment with it's bombastic chorus and extremely melodic, power metal styled guitar leads. The first thing I noticed was just how similar Robert's vocals were to Johan Hegg's, it's so uncanny if you didn't know otherwise you'd swear blind it was him. The whole album is extremely well structured, the production is crystal clear and the guitar playing is absolutely fantastic, but after the first song it never really threatens to scale those heights again. Other notable songs worth mentioning would have to be 'Bifrost', with it's acoustic intro, which would be even better if it wasn't so long and 'Ascension' which actually reminds me of fellow compatriot, Ray Well's project Raventhrone more than anything else. Don't get me wrong, the whole album is very good, it's just with an opener as good as 'Armoured Bard's' (which if it were in Amon Amarth's discography, would be a live classic) it was always going to be a huge task for them to hit that standard again. At times it comes close, but not enough.

Armoured Bards is a commendable attempt at a style of music which has been absolutely flogged to death in recent years. At times it is utterly fantastic, and at other times it does get pretty average, but this style of music does have a massive market, and the potential and opportunities for Heathen Foray to go on to much bigger and better things are there, they just have to find a touch more identity to stand out. If melo-death with fretboard tearing soloing sounds like your cup of tea, Armoured Bards is certainly sure to fill a gap anyway. Just don't expect anything revolutionary.

70/100

Myspace

Originally Written for http://www.metalcrypt.com

[ALBUM REVIEW] Deep-Pression - 4. Void of a Morning

1. Intro: Requiem for Tommorows
2. Part 1: Night Struggle
3. Part 2: Just a While Before
4. Part 3: Awakening
5. Part 4: All This Pain for Today

Ignoring the ridiculous attempt at a pun for a name, Polish act Deep-Pression have been somewhat of a revolving door to various members over the years. Having split up in 2009, 4: Void of a Morning is that last release before the split. Recorded over a rather long timespan of two years, and nine performers in total, it's certainly an intriguing piece of work. Previous Deep-Pression releases would have generally fallen into the ambient, droney black metal bracket, but Void of a Morning has pretty much forsaken all black metal elements in favour of an apocalyptic form of dark ambience that at times could be comparable to say a variety of Cold Meat Industry acts. Described as a concept album 'from dreaming, through awakening to the devouring mouths of reality'. Maybe bordering on the edge of pretentious, but when you apply the description to the music, it couldn't really be any more fitting.

Introduction 'Requiem for the Tommorows' (Glaringly obvious spelling mistake aside) is, as far as setting the tone for an album goes, pretty much ideal. It's nothing more than a bleak, oppressive droning with an isolated industrial-esque pulse breaking the monotony a few times. It works well in encapsulating the final throes of consciousness before sleep, before the nightmare arrives in the form of 'Night Struggle' with it's barren soundscape structured by the dissonant, distorted ambience created by the guitars and electronics. There's sparse vocals in the song, performed by a guy called Razor and are a restrained whisper, who does the vocals for part two and three as well. Each track, or movement, is split up by an interlude, and really serve as nothing more than a transition between each stage of the protagonist's dreamstate. 'Just a While Before' continues with the detached air, though more-so this time due to the almost Fields of the Nephilim like atmosphere created by the bass of none other than Vrangsinn of Carpathian Forest fame. It almost sounds as if it could have been taken off Elizium and completely stripped down of everything except vocals and bass. I don't know if it's supposed to make me feel uneasy or what but when listening to this song I actually end up more relaxed than anything. 'Awakening' is pretty much the same as the first track in its ambience, with an unfettered air of torture hanging around it like a wet fog while the protagonist enters the neon realms of the end of his sleep. Then the reality of 'All this Pain for Today', the only song with any connection at all to Black Metal, and that's only in the extremely scant guitar and howling vocals performed by Letaliis.

It's extremely repetitive, but it works. If you know anything at all about the dark-ambient genre, you'll know progression is most certainly not it's forte. There's a certain satisfying feeling of dread in the subtlety of it all. A lot of metal fans wouldn't normally listen music like this, thus is why Deep-Pression probably get so much flak when people do come across their music. With their background in Black Metal and associations with bands such as Trist and Happy days it doesn't help. If obscure dark-ambient is your thing I'd definitely recommend this. It's by no means ground breaking for music of this style, and it does tend to drag on a bit at time where it could do with a little variation, but it is certainly competent enough, and in the right mindset is an engaging listen. If you're a newcomer to the genre though, there are probably better places to begin.

67/100

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Thanks to Robert @ http://www.valsesinistre.com

[ALBUM REVIEW] Crystal Viper - Legends

1. The Truth
2. Ghost Ship
3. Blood Of The Heroes
4. The Greed Is Blind
5. Sydonia Bork
6. Goddess Of Death
7. Night Of The Sin
8. Secrets Of The Black Water
9. Man Of Stone
10. Black Leviathan

Polish heavy metal upstarts Crystal Viper are back again with the follow up to their critically acclaimed 2009 release Metal Nation, and this time continue their crusade for everything true and heavy with the subtly titled Legends. The debut, The Curse of Crystal Viper was unashamedly retro, the nonchalant old school vibe was what attracted me to it in the first place, with Metal Nation they somewhat lost some of that appeal to these ears, although it was still certainly an entertaining listen nevertheless. What I've always admired about Crystal Viper is that they avoid exploiting the fact they have a female vocalist, thus they avoid all the pitfalls and pigeon-holing that snare so many other bands. It's not very common in metal in general, never mind power/heavy metal, and when you do come across it it's usually some faux romantic gothic tripe, but Marta Gabriel's vocals are firmly rooted in the orthodox heavy metal style, of which many budding female metal singers should take note.

Crystal Viper wear their influences on their sleeve. A short delve into their recorded history will tell you that, covers from bands such as Running Wild, Accept, W.A.S.P. and Agent Steel will tell you all you really need to know about their sound. If I had to put a slightly more accurate description on things, a reasonable combination of American legends Omen and German privateer's Running Wild with the attitude of W.A.S.P. I'd say is accurate enough. If the thought of that doesn't get your metal sense tingling then I believe the low level lighting should guide you safely enough to the nearest exit in the hall. Legends is in pretty much the same boat as Metal Nation, a great piece of heavy metal, but this time it seems that there is something not quite right, lacking a certain staying power or that final clinical veneer that made the début so great.

Don't get me wrong, I'm not saying it's bad, not by any means. This is Crystal Viper as I've always loved them, but where the band was able to run riot on the début, I can't help but notice they sound a little restrained here. First and foremost the album appears to lack any anthems such as as 'Metal Nation' or 'The Last Axeman', although I'd say the album is a lot less 'impact' and a bit more of a 'grower'. Opener 'The Ghost Ship' is one of the stronger tracks on the album, the guitar riffing could easily have been lifted off Death or Glory, it's quite literally that obvious. It even sounds 'piratey' for want of a better word. The chorus is almost what you've come to expect with Crystal Viper, catchy and flamboyant, and with a guitar solo thrown in for good measure. But it's this predictability which is Legends downfall as well. It's all too easy to tread the same beaten paths over and over again. Every song follows the same verse-chrous-verse structure. “Sure they've always done this?” Well yes, but whereas the first time around they sounded genuinely inspired and fresh, it now just sounds tired and slightly tedious. This is most noticeable in the choruses throughout the album, just as it threatens to reach it's pinnacle, it hits a glass ceiling and doesn't really go anywhere before falling back again. The musicianship is top notch, as always, the guitar riffing is tight, though slightly more melodic than before almost verging into power metal territory as is the drumming, but it sounds as if there's something restraining Marta, holding her back from shifting into top gear. All songs follow the same pattern pretty much, except the ballad 'Sydonia Bork' where Marta actually sounds very like Kimberly Goss only with an accent. This song shows Marta's vocal talents best, at her most prominent and powerful. The band still maintain all the pomp and extravagance from before, most evident on the closing two tracks 'Black Leviathan' with it's Running Wild-esque swagger and the lead littered 'A Man of Stone', but the majority of the album just never quite reaches the dizzy heights they are capable of.

This viper may have had some of it's venom removed, but it's still just as vicious regardless. All the main attributes of Crystal Viper are still there, the melodic yet ripping guitar work, Marta's unmistakable vocals, galloping bass and drums. If you've already a fan of Crystal Viper and power/heavy metal in general you should get this, just don't expect anything quite as immediate as before. Since first listening to this my opinion has improved considerably, but I still think they need to come up with some new ideas, as the current formula is starting to sound exhausted and stagnant. It may be a little tame this time round, but they're still showing the wannabe Nightwish's and Epica's how metal is supposed to be done.

73/100

Myspace

Originally written for Archaic Magazine

[ALBUM REVIEW] Blood Devotion - Defile of Innocence

1. Intro
2. Rotting of Soul
3. Renouncing from Light
4. Codded Untouched Creatures
5. We Are Eternal
6. Outro

Defile of Innocence is the short debut release from young Russian band Blood Devotion. They play a form of Black Metal not dissimilar to the style of the Scandinavian bands from the early nineties. Anti-Christianity is the order of the day here, as if that wasn't obvious by the ridiculous cover, and though not in any way treading new waters, it is somewhat competent with some brief glimpses of what may be to come, from a band who still sound like they're trying to find their feet.

Chaotic riffing, unbridled drumming and throat shredding vocals, all the basic aspects of Black Metal are here, but on a whole it is extremely generic. There is nothing about this release which really stands out and grabs your attention, it's all just very passable and formulaic. The frustrating thing is Blood Devotion, who go by the monikers 'Inside' and 'Gorgon' are not average musicians, technically they are fantastic, and I believe they are capable of performing material way above this station. The drumming is the stand-out aspect of this release, fast, unrelenting and most importantly, varied. The vocals are powerful and raw and the riffing is tight, but lacks any sort of lasting qualities. It does remind me a bit at times of Windir if anyone surprisingly. Some of the songs actually contain short guitar solos which is a bit of a surprise and you can tell the guitarist is more than your average bedroom warrior who's just picked up a guitar and learnt the riff from 'Transylvanian Hunger'.

It's just that as a collective, it lacks a certain cohesiveness to form any sort of lasting impression. Defile of Innocence has a shockingly professional production for such an underground release, and being the bands first recording, I can only commend them on that. It helps accentuate everything , especially the drumming, which is as I've stated is nothing short of brilliant. But in emphasising the good; the drumming, it just removes any doubt as to the passive effect of everything else. 'Codded Untouched Creatures' is by far the best song on the EP, impressive riffing and has a certain spark to it the rest of the songs don't. Not that there are many songs though, three others and two pointless attempts at atmosphere for an introduction and an outro for which the time could have been better allocated to another song.

The unfortunate thing for bands releasing music in Russia, is just that, the music very rarely ever gets any attention outside of the country, and if Blood Devotion are wanting to make any sort of waves outside of their homeland on their next release they're going to need to up the ante quite a bit, for Defile of Innocence in a nutshell is just an extremely tepid release from a band who are capable of so much more. They're clearly talented musicians, but together on this release it just comes across as rather uninspired and just flat out drags.

47/100

Originally written for http://www.metalcrypt.com

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[ALBUM REVIEW]Sargeist - Let the Devil In

1. Empire of Suffering
2. A Spell to Awaken the Temple
3. From the Black Coffin Lair
4. Burning Voice of Adoration
5. Nocturnal Revelation
6. Discovering the Enshrouded Eye
7. Let the Devil In
8. Sanguine Rituals
9. Twilight Breath of Satan
10. As Darkness Tears the World Apart

One of black metal's most famous vagabonds, Shatraug, is back again, and this time with the latest Sargeist album. Shatraug likes to keep himself occupied, already having multiple releases with various projects already this year. And who can blame him when you're one of the most critically acclaimed artists still operating in the black metal scene? Sargeist were always a band I had an extremely large amount of time for. There is a subtle malevolence about Satanic Black Devotion and Disciple of the Heinious Path which always keeps dragging me back to them. They're not groundbreaking releases by any means, but it's Shatraug's penchant for being able to write an infectious riff and Hoath Torog's fantastic vocals patterns that always kept my Sargeist albums at the top of my CD pile.

If you're a fan of any of Sargeist's previous releases, then in short, this album will blow your skull clean fucking through. Whereas the previous albums did tend to be fairly inconsistent at times, Sargeist take the best aspects of everything produced before, and conjoined them all into one grandiose manifestation of pure old school black metal genius. The general sound of Sargeist isn't really comparable to much of that say in the original Norwegian Scene, Sargeist quite clearly have that recognizable Finnish sound, in fact he had a significant hand in helping develop that sound. It's the overall attitude and atmosphere within the recording that is comparable to bands such as old Gorgoroth and Emperor. It has always appeared to me that Shatraug is a clear believer in doing things the traditional way, and with material such as this, how can you argue?

If you've heard Behexen, which you most likely have if you're a fan of Sargeist, Hoath Torog's vocals are pretty much identical to theirs. As he's a member of both bands, that's pretty much a given, but whereas Behexen are an all out blasphemic hailstorm, Sargeist are much more brooding. Hoath Torog's vocals are utterly intense, when I say he's one of the strongest vocalists in the scene at the minute, I mean that. He coils each phrase, each word, writhing perfectly around each chord. Budding vocalists take note, this is exactly how black metal vocals should be done, delivered with an iron authority, driving the music without ever becoming distracting. The vocals have a good amount of reverb on them, as Sargeist have always done, and when done properly, such as here, add that tormented touch perfectly. The riffing is deceptively melodic, Shatraug's style here varies from fast to slow, mainly utilising traditional tremolo riffing, but with a certain almost rockish feel to it a times. The riff in “Discovering the Enshrouded Eye” for one is a good example to this. Horn is still the drummer, and adds a heady amount of brutality to the proceedings, from hyper-speed blasting and fills, to almost punk like rhythms, it compliments the melodic guitar lines flawlessly, avoiding ever becoming overpowering. My only problem? The album name. I can't help but get an image of old Lucifer standing outside your house soaked to the skin in the pouring rain, knocking to get in, and your nagging wife telling you to let him in.

Of all Shatraug's projects, and there are many of them, I can safely say this is the best release by any single one of them by far. It was a fairly unexpected drop, this album, but oh so welcome. In a scene which some may say is starting to lose sight of it roots, Let the Devil In is a modern benchmark of how it should be done for any burgeoning black metal band to strive for. Combining the 'true' ethics of old, and building upon their previous work, Sargeist have created a majestic work of tyrannical black art, spiralling oblivion. You can tell they put a hell of a lot of work into this release, because it shows. With Let the Devil In, Sargeist have evolved into something mighty. The bar is set, people.

100/100

Written for Metalcrypt

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[ALBUM REVIEW]Diamatregon - The Satanic Devotion

1. Cerbere
2. Earth Rites
3. The Pilgrim's Song
4. Abode a Rats
5. Helleva Screams
6. Diamatregon
7. Demon Rides the Nuns
8. Satan is My Pride
9. Satan War Spit
10. Satanic Devotion

Usually France is reasonably reliable for black metal, a lot of the albums coming out of the country at the present time are absolutely fantastic. Unfortunately for Diamatregon though, they are certainly not one of the better acts to come out of the Grenoble region, never mind France itself.

First thing's first, it's hard to even tell initially if the band are being altogether serious or not, when you have song titles such as “Demon Rides the Nuns” and “Helleva Screams” which begs the question, 'Are they just bad at English or are they genuinely trying to be humorous?'. In which case if it's the former, I prefer bands to sing in their native language rather than embarrass themselves, and if it were the latter, which I suspect, then they should just give up altogether.

Apparently they have been around for thirteen years or so, and if this is the quality of material they are happy to produce then more power to them. On the basis of this release, I'm just glad my eardrums won't have to experience such sonic torture ever again.

The music itself completely lacks any sort of cohesion or consistency whatsoever. Right from the outset, the very first thing which you cannot in any way fail to notice is the excruciating feedback screech coming through the guitar in every single song. Leaving stuff like this in the final recording is farcical, you wouldn't find a production job as bad on this on ninety percent of any black metal demo out there today never mind for a full length album. It's actually so bad at times it quite literally did hurt my hears and I had to turn the volume down. It's pretty much the way the rest of the release goes as well. The vocals are heavily processed and as a result sound extremely unnatural, the complete lack of bass presence only manages to emphasise this. The drumming sounds like a child randomly beating a biscuit tin, infact I'd even hazard a guess that there are kids out there who could perform better behind the sticks than Antoine. The guitar riffing is the only aspect of this release which is remotely interesting, and on “The Pilgrim's Song” or “Satan is my Pride”, it at least works towards at least some way of making a sitting through the song bearable.

The Satanic Devotion is certainly an album I won't be revisiting again in a hurry, and the same can be said about the band themselves, because on the basis of this, a half-assed attempt at offensive black metal, I'll be glad never to even hear of the band again. Beneath the mind numbingly bad production attempt, the music itself just doesn't cut it, because there is not one iota of any identifying factor or aspect of this release that would set them apart from the hordes of sub-par black metal projects. I am never specifically looking for originality and revolutionary new techniques when exploring new bands, but I do expect the music to at least be able to stand on it's own two feet.

I wouldn't recommend this abomination to anyone, unless you like your black metal sounding exactly like it was recorded in a mishmash five minute session in a toolshed, then avoid. Apparently it's been re-released, but I have to ask myself, how in the name of hell did this manage to shift enough copies to warrant a re-release in the first place?

10/100

Originally written for Metalcrypt

[ALBUM REVIEW] Grave Digger - The Clans Will Rise Again

1. Days Of Revenge
2. Paid In Blood
3. Hammer Of The Scots
4. Highland Farewell
5. The Clans Will Rise Again
6. Rebels
7. Valley Of Tears
8. Execution
9. Whom The Gods Love Die Young
10. Spider
11. The Piper Mcleod
12. Coming Home
13. When Rain Turns To Blood

Grave Digger need no introduction to any self respecting fan of heavy metal. Being at the forefront of the German metal scene since their debut in 1984 has engraved their name into many metal fans hearts. 2010 sees the band return to the album that many fans regard as their 'magnum opus', Tunes of War. Kilts, bagpipes, clans and war, it can only be about one thing, Scotland. In-case you've been living in a cave for the last number of years, Grave Digger play a gruff, anthemic variation of power metal.

The recent output of Grave Digger to be totally honest left a lot to be desired. Ever since the fantastic Rheingold, Grave Digger's releases have been pretty unremarkable. The Last Supper was just flat out dull and the equally boring Liberty or Death no better. Ballads of a Hangman was somewhat of an improvement but lacked the spark of previous releases. The Clans Will March Again fortunately amends this recent dip in the Digger's form, and is certainly the best since Rheingold, if not better.

What Grave Digger manage to do so well is create a levelled mixture of bombast and infectious choruses, refraining from ever entering into self indulgence. This is what makes them one of the most effective live bands you will ever see. The songs just carry over so well into the live environment, and it's where Grave Digger really shine. If you ever get the chance to see them live, I would highly recommend you do so.

Songs like “Paid in Blood”, which is pretty much certain to be a live staple with its unashamedly catchy chorus are exactly what's been missing from the Grave Digger roster recently. The album is riddled with solos and substantial, crunchy riffs, which is owed to the introduction of new guitarist Axel Ritt. He appears to have added some much needed ardour into this metal behemoth. Chris Boltendahl's vocals never change. They sound almost identical since day one, and set Grave Digger far apart from everyone else and give them their identity. Name another vocalist who sounds similar, because I can't. Technically no, he's certainly not the best by any means, but it's his token gruff accent that makes Grave Digger who they are. “Coming Home” again is another highlight of the album, as is the headstrong “Hammer of the Scots”. The obligatory ballad appears at the end, “When Rain Turns to Blood”, and to be honest is probably the weakest song on the album, certainly not one of their best ballads, it's almost as if something is stopping it from going anywhere, in the end it just trails off without really ever provoking any sort of emotion. There isn't anything quite up to the standard of songs like “Rebellion” or “William Wallace (Braveheart)”, but they're stone cold classics of not just Grave Digger themselves, but of metal itself. It's also good to see the bagpipes making a return again, and used in moderation, we wouldn't want a metal version of Runrig now would we?

This a very welcome return to form by these German veterans, it's classic Grave Digger and Grave Digger by numbers at the same time, and Grave Digger by numbers is better than ninety percent of anything in being called power metal today. It's majestic, dynamic and inspired, it's great to see they can still cut it in the studio.

87/100

Originally written for Archaic Magazine

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