Wednesday, November 14, 2018
It's a thicker sounding, blockier album than the first, as if levels were being tweaked between the instruments to try and even them out, and some slight calamity occurred as a result. Don't get me wrong here, Echoes is still quite listenable, but the dynamic range of its Passage was superior to my ears, and remains so, since I went back and listened to it before tackling the rest of their catalog. On a stylistic standpoint, this is very much that mid-90s style of black metal pioneered largely by bands out of Norway who early on applied symphonic elements as complements to the guitars. You could trace it back to Emperor, Limbonic Art, Old Man's Child, and their ilk, good influenced to have as they permit Darkenhöld to truly manifest the archaic, haunted majesty of their lyrical themes. The riffing here is quite solid, perhaps not always so unique but shifting about often enough that there is no real boredom anywhere, with tight-cropped tracks that don't their heads to spawn mediocre 'epics' that lack the ideas to fill them. Drums sound tight and appropriately crashy, while the guitar tone itself is good, the synths are laid out just right behind it all and the vocalist's rasp slithers right thru to coil itself around the listener's bewitched ears.
It's only when it all fires off at once that I sensed a little bit of clip or excessive evenness which robbed some of the individual components of their power potential. Sometimes the keys would shine forward a little much for the strength of the guitars, and so forth, but I'm such an admirer of this style and where it takes me mentally that it's not a great obstacle. The 'dungeon synth' like intro pieces, "Subterranean Corridor" and "Interlude" are well enough made, but perhaps not as catchy as the keys used in some of the proper metal tunes, and not as good as those Darkenhöld has used on some of its other albums. For this album, the more the band takes risk and provides evil riffing, the better the tunes seem to be, as in "Chasm of Asylake", but they hit a lot of mid-paced Blood Fire Death style sequences adorned with eerie symphonics or pianos that I also found quite agreeable. The lyrics are also worthwhile, whether you're into fantastical creatures ("Wyvern Solitude Chant") or alchemy ("Under the Sign of Arcanum"). All told, I'd say this ranked as their third best album, quite good but not as impressive as the debut or the album that would follow it in 2014.
Verdict: Win [8/10]
Tuesday, November 13, 2018
All three of these instrumentals consist of a clean guitar component, with Aorlhac's album opener being the most purely rustic and folksy, pure acoustic bliss. Darkenhöld's is a little more dingy and tribal, with some ambient sounds hovering just at the crest of the guitars. The finale of the split, Ysengrin's "Herege", features some electric guitar along with the acoustic, and cedes into a more funereal synth as it comes to its close. All three of these pieces were very well done, highlights of the recording, and for their small differences flow together rather well with one another and the slightly divergent styles of the bands. Fortunately, just about everything else on offer is also worthwhile, from Aorlhac's savage, riffy "Les charognards et la Catin", to Darkenhöld's mid-paced, evil piece and fittlingly titled "Eerie Plain at Dawn", to Ysengrin's morbid amalgamation of death, doom, heavy and black metal "La Procession Noire" with its more atmospheric, guttural vocals and weird, snaking riffs and leads. Each of these tunes is quite fluid with what the band was releasing individually at the time, and like a lot of their material easy for the Dark Age headbanger trapped in the 21st century to lose oneself in.
Ossuaire was new to me, but their sole track also seems like a microcosm of what their peers had on exhibition, with some acoustic guitars that transmute into some chunky, dissonant black/death metal with, yet again, guttural vocals rather than the black rasps that you'll hear from the first two bands on the split. I did think this tune was okay, but perhaps my own issue was the dingy, dissonant tones and overall production once the heavier sections kicked in stood out a little much from the rest. Some of the style here reminded me a lot of another French band, Suppuration, which is cool, and I did like this enough that I'll track down their 2010 full-length Mortes Fables at some point to check it out, but I'd say of any of the selections for this release, it was probably the one I would have cut out to make the rest flow a little more smoothly. That aside, and its a minor gripe at best, La Maisniee du Maufe is a very cool release which delights for much of its runtime. France has by far one of the best scenes in all black metal these years, and even though the bands included on this would be considered second or third 'tier', they are all well worth hearing, following and supporting.
Verdict: Win [8/10]
Monday, November 12, 2018
Musically the focus is on mid-90s black metal riffing, an admixture of scathing rhythms, dim chord choices and occasional swings into full-on, ale-pounding majesty that come out of left field. The mix of the album is very even, with the guitars, bass, drums, synths and nasty snarling of the frontman 'Cervantes' complementing rather than fighting with one another in the speakers. It's a firm medium between the rawer elements of the genre, and the more overly produced, big budged offerings of the Scandinavian luminaries and mainstays. The atmosphere is created through the graying moods of the guitars, adorned with organs and other synthesizer effects which fit them perfectly. There is one brief interlude piece called "La Grotte de la Chêvre d'Or" which you could consider full-on dungeon style synth, but otherwise the band is heavily guitar driven, with a heavy use of acoustic guitars that are seamlessly integrated along with distorted lines when they're not appearing alone. Some of the riffs are quite good, with occasional drifts into leads or melodies that stand independently of the rhythm section, but to be honest there are a number of forgettable or overly familiar patterns that would not stand out whatsoever if not for the sum atmosphere created on the album.
The snarl is quite good, but also akin to many you've heard before, so I'm thankful that they also do include some soaring, background choral vocals that make it sound like it's being broadcast at you from some mountain monastery. Memoria Sylvarum also keeps most of its tunes reined in at around 4-5 minutes, so they aren't so headstrong to think they can cycle endless waves of repetitive riffing at you in a vainglorious attempt to seem epic or profound. With a couple exceptions, Darkenhöld just charges into battle, as a convocation of black knights attending a joust, and then doesn't wear out its welcome, providing the listener an atavistic portal into his or her own fantasy. It's almost elegant apart from how it does occasionally deliver the savagery of the earlier albums by acts like Midvinter or Old Man's Child. While it's not my favorite of the albums they've put out to date, this does not disappoint, it's only marginally less engaging to me than A Passage to the Towers or Castellum, and yet again secures a catalog of consistency for a band that, Franc-ly, is not spoken of nearly as often as they deserve. Sorry for the terrible pun, it appears my jestering skills need some dusting off.
Verdict: Win [7.75/10]
Thursday, November 8, 2018
Bâ'a opens with a volley of fast-paced, highly melodic and sorrow-stoking black metal complete with some great bass-lines and added layers of orchestration at just the right moments for just enough of a transcendence. There are some breaks in the momentum, where the material becomes more longing and pensive, but overall they are just a well-rounded project with a multi-faceted attack that worked for me at any pacing. Verfallen feature some of the longer tracks on the disc, each over 9 minutes long and giving me some nostalgia for 90s melodic black or death metal with an intense blast beat battery and some harsh, nasty vocals. They too will throw in some segues where they move onto a more mid-paced, charging style or some softer guitars, but when they're firing on all cylinders I got the impression of a French Dark Funeral or Marduk, maybe some shades of Merrimack. They're probably the most monotonous of the three bands here, but I don't mean that in a bad way, the songs are just more grandiose in weight, there is still plenty going on to keep the listener's ear trained and not lapsing into boredom.
Hyrgal, the 'veterans' of this release, take things down a notch with a very somber, morose piece that moves at one of the slowest crawls, but packed with harrowing emotion and driving chords. A few parts of their album closer, "Sicaire", ramp up the pacing to flow more fluidly with some of the offerings of their compatriots earlier on, before then breaking down again into a soul-sucking climax with some multi-layered vocals, and lastly a wonderful ambient ending that trails off for the last 4 minutes, spacious and heavily distorted guitars ringing out before a torrential downpour cedes to some stormy swells of cleaner, sparsely strung notes. All quite breathtaking, especially after the near hour of time you spent building up to this, it's as if all the tension of the bands' material breaks at long last, drenching the listener in a chance to reflect back upon the journey. All thoughtfully constructed, and while these particular bands might not have the same level of distinction or creativity as some of their better known countrymen, they're all quite good at what they do. Passion, savagery, escapism, such crucial components for black metal. France has a very rich scene in this genre, and here are three freshly blooming examples of why.
Verdict: Win [8/10]
Monday, November 5, 2018
Jettatura is primarily mid-paced, driving rock-punk rhythms with a few slightly faster, dissonant chord patterns woven in and out for good measure. It shows a sort of parallel development to how crustier metal/hardcore bands of the D-generation write at moderate speeds, only with a brighter production level. Think Nails playing a Darkthrone cover, mitigating their anger a bit for a more bruising, cruising effect. It's not so sunny, rocky and punky as something like Turbonegro or Kvelertak, but take that style and integrate some more mug-swilling, atmospheric and melodic disposition and you're in the right ballpark. In fact I'd say they sound most to me like the Danish band Horned Almighty, although I didn't enjoy this quite so much as that band's catalog which has a more cruel, abusive streak to it. The riffs here are just slightly north of 'stock', occasionally dressed up with a jangly little minor note fill so it's not just all meaty chords, or some occasionally chugging which will break off into a faster tremolo picked sequence.
A lot relies on the vocalist 'C' (they all use initials here), who has this very level, consistent and nasty rasp which is capable of some sustain to match up with the general mid speed of the instruments. C sounds loud and central to the mix, and about as professional as you're going to get, but at times I also though the vox were a bit too obvious and overbearing, without the little flaws and personality quirks that would make them stand out. Essentially it's a rock solid delivery over a rock solid base, with the drums and bass and rhythm guitars all adequate for a style of black metal that is the very opposite of flash. I think they do a fairly decent job of balancing out their two 'sides', but the issue I had for much of this was just that the black metal riffs are never evil enough, nor haunting, even when they clearly try to be. Some more experimentation, higher pitched guitars, perhaps some more unpredictable rhythm guitar patterns could really turn this around because VOID clearly knows how to achieve a high level studio sound. The album packaging looks cool, and they also have a really cool lyrical style which seems to flow like beat poetry when you read them outside of the music.
A lot of potential here, I just wish the band would go further out into the unknown. I think in the end, if you're really into that early Darkthrone black metal style but want it cleaned up a bit, Jettatura would hardly be a waste of your time, but the whole experience felt a little too stable and samey for what I'm looking for in this particular niche.
Verdict: Indifference [6.75/10]
Friday, November 2, 2018
There are a couple flaws...for instance, the cover art is really shitty, some aberration of their Chaly like winged skull mascot superimposed with half an evil woman face, and completed by the tacky album title font. Doesn't bode well for what you're about to hear, and that's too bad, because this album delivers on many fronts. The other setback here is that, for all the detail and extravagance on exhibition throughout Unleashed Bastards, a lot of the tunes center around some really generic riffs that you've heard a thousand times before. Does Necromonicon offer enough relish on top of this fundamentally predictable core to help offset that fact? I'd say they do, because the album has a great flow to it, with plenty of variation in the riff-sets, lots of good leads and melodies applied to the duller rhythm guitars to help spice them up and keep the ears fixed. Tracks like "Forbid Me from Living" and "Imperial Hunger" really soar through the roof, not only because of these guitars but also the resonant, Schmier-like vocal quality of the band's long time axeman-singer Freddy.
He has that ability to pitch that nasty Germanic mid-range bite into the stratosphere with some great chorus-work that patches up many misgivings I'd have for some of the verse riffs. The lead guitars if a little forgettable, are all thrown in at the right times and places, and combined with the heavy use of melody there is easily an appeal here for fans of bands like Heathen, Forbidden, Paradox, Deathrow,etc. The rhythm section is rock tight with some great drum tone throughout, and busy bass-work in spots that really help lend the tunes some replay value. They'll also throw out a couple tunes with unexpected structures like "Malevolent", which takes its time ramping up to the neckbreaking. All told, this is some pro stuff here, with a production that I can't find any complaints about. The packaging might suck, but Unleashed Bastards has vaulted itself to my favorite album of their post-2000 catalog, and second favorite only to Escalation among their entire discography. Perhaps not among my thrash picks for the year, but these guys prove why they've remained in the game for so long.
Verdict: Win [7.5/10]
Thursday, November 1, 2018
The results here were mixed for me. I find the album very well produced with appreciable nastiness, and lots of cool flourishes in the lead work and the atmosphere that takes me right back to a lot of US underground thrashers in the 80s, from Atrophy to Indestroy, not to mention the overt parallels to their own legendary countrymen Sodom and Kreator. However, about half of the tunes here suffer from some really banal rhythm guitar progressions that are entirely too dull and predictable. "Low Velocity Blood Spatter" is a good example, because it starts with some nice, dim harmonies and seems like it's about to explode like a mix of Artillery's By Inheritance and Kreator's Coma of Souls, but then devolves into some lame moshy parts. These are saved by the fiery energy of the band, in particular the lead guitars wailing out all over the place, or the meaty drum performance. In general, they just perform far better when they're moving along at either a faster paced with speedier picking redolent of Agent Orange, or a few of the peppier mid-paced riffs which recall Exodus.
There's also a similar mood or feel to a number of the tracks here where a lot of the guitar seem to blend together; don't mistake me, they all feel flush to the artwork and atmosphere that the album is trying to present, but a few more guitar parts out of left field would have rounded it out better. The band's newer vocalist Lee does an adequate job of delivering a nasty, sincere, splattering tone, but sometimes a bit too polished and punctual. As I mentioned before, the leads are fired up and inspiring throughout, when they erupt in tunes like "See You on the Bodyfarm" they almost always elevate their surroundings, and without any need to be overly wanky or technical. It's largely thanks to these that First Class Violence is still an album I'd recommend to pure thrashing fans who are looking for proficiently implemented throwbacks to that 80s Golden Age, which Darkness themselves were a small part of. The Gasoline Solution was slightly better, but a tune like "Born Dead" works for me in any decade, these gentlemen don't sleep on the execution.
Verdict: Win [7/10]
Sunday, October 28, 2018
Does that matter here? Yes and no...there's a primal hideousness coursing through the ten cuts of this album which is certainly engaging and abusive. Like a lot of bands out of the NOLA scene, or Cali's cult crushers Autopsy, there's quite a chunk of punk or hardcore influence, only rather than cultivate a crust, sludge or doom center, Necrophagia channels it directly into a raw, pummeling death metal. Riffs are meaty and atrocious, with a raw, thrashy and crunchy tone to the rhythm guitars that does get a bit noisy in the recording. They do delve into some slower, groovier, doomy riffs at points, and there are also some really minimalist, bottom of the barrel sorts groove/nu metal riffs that they clog up some of the choruses with. Really, though, while a lot of the riffs can feel creatively bankrupt or flat-out predictable, they do suffice at least as a basis from which to launch the keyboards or other effects, not to mention they are angry, violent and abusive enough to compete with Killjoy's savage, tortured barking, forever the hallmark of this project.
It's kind of an odd sound because apart from maybe something like Autopsy, Impetigo, Slaughter or Sarcofago, it doesn't really wedge itself easy into other classifications of death metal. It's 'brutal' by its own standards, but the riffs feel more based in thrash and punk than the influence of the Swedish, British or Florida scenes. You don't get the feeling that there are any 'rules' in motion, or any real ambition, other than pounding the guitars into your skull like nails. The basslines and drums provided by the international rhythm section of Iscariah and Titta Tani, are very barebones and rock & roll in prowess, which also stands out like a sore thumb among the more technical and brutal inclined acts, but then again serving the style on this disc pretty well. Unlike a lot of the faceless hordes of bands that fit snugly into some category, when I hear a Necrophagia tune in a radio lineup I'm going to be pretty sure of who it is, and that's not a bad position to be in.
Mirai of the godlike Sigh provides the keyboards on the album, and he retains his penchant for choosing lines and tones that sound like they're somewhere between carnival music, giallo scores and prototypical New Age. I did not quite like how they were mixed here, feeling a bit too acidic or grating especially when coupled up with that brash guitar tone. Occasionally, as in "Rue Morgue Disciple", the band will break away into some simpler chugging and melodic guitars, where Mirai offers a more fulfilling, symphonic background, and these were some of my favorite parts. Overall though, with all the special effects coming and going through the music, Killjoy's lung puncturing roars, and anything else going on, I do feel like it can all devolve into quite a clamor, and isn't really mixed very well, a flaw that I think could prove a deal breaker for many listeners.
A horror guru like few others, Killjoy picks some interesting subjects here, like a tune about the Parasite Eve video game, or the "Flowers of Flesh and Blood" episode of the Guinea Pig torture-porn series. Not the sort of stuff you expect on your average horror-inspired death metal album which will mine the same old slashers from the 80s, and that much is appreciated here. The Divine Art of Torture is certainly one of the Necrophagia records with the most potential and cool concepts, but the lack of really sticky riff passages, as well as the production hold it back a step.
Horror-Meter: Seven out of ten phobia-driven heart seizures.
Verdict: Indifference [6.5/10]
Wednesday, October 24, 2018
Now, on one level I was not mistaken with the GWAR comparisons...certainly the band's elaborate prosthetics and stage get-ups, while not taken to the same extreme, are comparable to the Scumdogs of the Universe. Mr. Lordi's meaty, gritty vocal style also highly resembles the late Oderus Urungus, if a little more sustained and gravel-chewing. They occasionally also strike the same general level of heaviness, while remaining accessible to a broad metal audience following several genres. But where GWAR was rooted more directly in punk and thrash, Lordi have evolved their shock rock ambitions into a panoply of thrash, heavy metal, groove metal, rock opera and 80s hard rock complete with a heavy use of dated synthesizers that remind me simultaneously of cheesy AOR tunes and stuff like the intro to Ozzy's "Mr. Crowley". That they are able to assemble all of these aesthetics into one seamless whole is impressive, especially on this 64 minute, 14-track juggernaut upon which there isn't a single tune void of some extremely catchy riffs, chorus lines, or arrangements.
It does start off a little corny with a narrative horror intro and then "Let's Go Slaughter He-Man (I Wanna Be the Beast-Man in the Masters of the Universe)", which, if you couldn't already tell is a childhood relation towards the villains in the He-Man universe. It's not that I didn't once share this same sentiment, but the lyrics here are dumb as rocks. Likewise with the cringe-worthy sex anthem "Hug You Hardcore", focused exclusively on rear entry. Now, ironically, the music in both of these tunes is quite good...the former a synth-laden hard rocker which reminded me of their fellow Finns Twilightning, and the latter a super groovy rock track with a simple but unforgettable riff gimmick that I'm surprised nobody had ever tried before. So yes, despite their lyrical shortcomings, neither is a track I'd ever skip when listening through the album, and it's no wonder that "Hug You Hardcore" is their choice for a video, which strangely seems to feature more of a slasher theme and doesn't much have to do with the words...whiiiiiich, might be for the best!
After that point, while a few of the lyrics might still be plebeian ("Down with the Devil"), the rest of the music is quite excellent, with a huge dynamic range, from the slow and grooving "Mary is Dead" to the dirty heavy metal of "Sick Flick" to the power metal that inaugurates "Demonarchy" itself. The arrangements of the tunes are just about perfect, with lots happening through the synths and other instruments, but the ability to still come together for an amazing chorus. They employ a few higher screamed vocals which create a cool contrast with Mr. Lordi's usual tone, and maintain a kind of modern, creepy haunted theme park feel throughout. Production on the disc is polished but really perfect in allowing the listener to experience every intricate note, with nothing too loud or muted in the mix, no mean feat when you consider the wide range of riffs on exhibition. That the album goes over an hour without ever firing off a misplaced measure to me is staggering, perhaps not every riff or line is unique, but assembled together they offer quite a substantial window into shock rock contemporary and future, and Monstereophonic is a much less silly than it looks. Far less childish than its early attempts to derail itself. A whole lotta fun.
Horror-meter: Six out of ten underpaid makeup artists.
Verdict: Win [8.75/10] (scheming the night through)
Friday, October 19, 2018
You'll instantly notice, upon first spinning the disc, how well the symphonics and choirs have been produced here, impressive since they're largely the work of a single keyboardist. Whether on their own or being used to decorate the straightforward, brutish rhythm guitars that populate most of the album, they feel so well-tuned and well-constructed that you really feel like you've spent a night at an opera which was crashed by some Ozzfest rejects, and I don't say that as an insult. As for the riffs themselves, they don't quite hit nu-metal levels of generic bounce, but there's not much to them other than serving as a foundation for all of those synthesizers, synth leads and the vocals, lower string chords most of the time with a few grooves and fills. Occasionally they'll infuse some higher pitched speed picking stuff that gives an impression of anthemic 21st century European power metal, but the majority of the time they are the element of the record that's striking the listener in the gut while the other trappings are more evocative of the imagination. Some slightly rave-like electronics are also incorporated into the harder riffs, so this isn't just some Gothic horror act living entirely in the past, even if the lyrics and overall imagery seem to point that way.
The real star of this morbid musical cinema, however, is Eleonora Steva Vaiana, who has a lower pitched, evil, wavering vocal style which so fluidly suits the punch of the music. At the cleanest of times she sounds like some sultry which summoning a hex, but she can also get even nastier with a near-rasp tone to accent a few of the lines, and kick in some power and sustain to the chorus lines. I'd liken her to an Agnete Kirkevaag of Madder Mortem, or perhaps Italy's occult scream queen herself, Cadaveria, but she totally makes this album, leveling out whatever elements you might find too overproduced or cheesy with a passionate and shadowy delivery that makes it difficult not to take seriously. Elsewhere, the band shines, with great drums, solid bass-lines, and a bevy of other instrumentation like the acoustics of "Vigor Mortis" that sound crystalline in execution. All of these are mixed in a beautiful balance that can go toe to toe with most 'modern' metal recordings in the fields of Gothic and power metal, without sounding too shallow or commercial.
It's not perfect, as some of the predictable guitars and symphonic melodies don't leave much in the way of a surprise lurking around any surface of this haunted opera. The music in general, while so painstakingly well produced, would not often be that memorable save for Steva's presence, but as an entire package it sounds great, and it casts such a potentially wide net that I could recommend it to fans of bands as varied as Nightwish, Benedictum, Ghost, Powerwolf, Cradle of Filth, Devilment, and of course their spiritual precursors Death SS. A good, solid album to pump out the speakers, not so much for metal seeking filthy, raw, flawed evil sounding material, but certainly could impress a lot of the squares and commercial metal receptacles who are more likely to let it find them than go out hunting themselves.
Horror-meter: Seven out of ten spectral orchestra pits.
Verdict: Win [8/10]