Bloodway - Sunstone Voyager and the Clandestine Horizon (2014)

Thanks to an unhealthy obsession with nearly all that Negură Bunget has released over the years, Romania has long been a scene I've turned to expecting to hear new sounds, fresh spins on stagnant genre tropes which aren't always a bad thing, but generally redundant. To this end, Bloodway's inaugural MCD Sunstone Voyager and the Clandestine Horizon has not let me down. Even just looking at this, with its simple but unusual logo choice, abstract artwork, you've just no idea what it might sound like apart from some potential psychedelic influences, and knowing that its being issued through Italy's I, Voidhanger imprint grants some measure of quality control and reliability. So, it's really no surprise that Bloodway is fascinating, and within 26 minutes had already hooked me through both lips and reeled me on board without much of a struggle.

I saw this categorized as 'dark metal' somewhere, and while this isn't an inaccurate aesthetic identifier, I'd prefer to think of it as alternative black metal which meddles in a few of the fundamental characteristics but sets its own course quite early. Voluptuous, muddy bass lines sway below organic, dissonant guitar riffs that favor a blend of jazzy post-black, post-sludge, post-me-saying-post structures which immediately engrave onto the imagination that this will neither be the most uncomfortable nor comforting listen. They very early on prove they can seamlessly transform between crawling, shadowy grooves and unnerving, horror flick blast beats in "The Skeleton Key", but as with any great record (or horror flick), you can't exactly predict what is to come in the next scene or measure. That's not to say they become so eclectic that they break character, but it's ever a pleasure to hear what the guitars will mete out, and the vocal rasp of Costin Chioreanu has this truly spirit wrenching quality about it which seems to find a medium between Sakis Tolis' passionate bark and Martin van Drunen's visceral ghastliness. Even where Sunstone Voyager... seems at its kindest, there's that constant undercurrent of pain and cruelty.

Drums bounce flawlessly between fragments of rock beats and extreme metal techniques, and really the whole production of this disc is loud and functional like a really excellent jam room performance which can rival most studio wizardry. It's not quite so hazy and psychedelic as I might have thought, nor would I dub this 'progressive' metal, but its adventurous and has a subtle Gothic taint to it which makes the more somber, bass and vocal driven passages just as profound as when the riffs are jamming out. Really, this is something which stands on its own, easily recommended to followers of prog sludge/doom, Greek black metal (Rotting Christ, Necromantia), or other artsy regional acts like Sear Bliss and Negură Bunget. But even that doesn't paint the entire picture of what this sounds like, so you'll just have to hear it for yourself. The material isn't immaculately catchy, but compelling and subduing enough that I've given it a half dozen runs through, and have no intention of stopping there, or missing out on whatever they'll create next. I just hope I don't get tetanus in the meantime from this damn thing in my mouth.

Verdict: Win [8.75/10]

https://www.facebook.com/bloodways

Obsequiae - Suspended in the Brume of Eos (2011)

Obsequiae is essentially a reconvening of the Minnesota project Autumnal Winds, who produced a stream of demos in the last decade that led to a brief hiatus, Blondel de Nesle's work in the rustic funeral doom act Celestiial just beginning to take off. Those who are expecting a similar drone-based, spacious and grim exercise in stark natural minimalism might be very surprised here, because if anything, Obsequiae is a cogent study in heavily melodic, unending floods of Medieval/folk guitars drifting atop simpler beats and rasped vocals, almost an antithesis of Celestiial, anchored by the rhythmic skill of multi-instrumentalist Neidhart von Reuental (and no, I do not have a clue if these are their real names).

Suspended in the Brume of Eos is a substantial effort, defined through its contrast of lush acoustic segues and driving, fell glories that feel decidedly European in origin. Obviously the nearest parallel one would find would be the pagan/folk metal genre from overseas, but I liken the material most to the track "Moonshield" by In Flames (before they got all metrosexual). An excellent song, and perhaps an unexpected comparison that many would scoff at, but imagine that track's winding and beautiful string melodies being woven throughout 42 minutes of new, original material, wrought between lovely acoustic shorts like "Sidhe", "Wildes Heer", and thundering, desperate romps like "Altars of Moss", "In the White Fields" and the night overwhelming instrumental "Cabin Lights" which had my thoughts reeling towards the past with its crescendos of dual melody. The duo also provides a basis of straight, aggressive black metal as in "Arrows", which is more of a wall of sound chord onslaught, so there is enough variation here that it doesn't feel like the same gilded guitar graces repeated into monotony.

The production is fluent without being excessively polished, and here is where the band's own rustic tendencies shine, for there's this natural backbone. It's very easy to close one's eyes during this offering and conjure up images of knights and ladies fair gallivanting through the woods, often in bliss and harmony, but often with their heels set upon by the jaws of raving wolves. I can't say I was a huge fan of the vocals here, because they're simply all too common contrasted with the more engrossing and eloquent guitar licks, but in tandem the two function as intended. Suspended in the Brume of Eos is easily recommended for fans of the seasonal and rural in their black metal, perhaps a dash of earlier Agalloch (Pale Folklore or The Mantle era), Opeth circa (Morningrise), or Canadians Woods of Ypres (only Obsequiae is far superior to that lot by any conceivable standard). You're not likely to hear much in a similar vein this year, and this full-length should evolve into an album of choice for fall foliage sightings and stirring regrets. Score another sleeper for Bindrune Recordings.

Verdict: Win [8/10]

http://bindrunerecordings.com/

Thurisaz - The Cimmerian Years (2011)

When I first read the title of the new Thurisaz album, I was rather surprised and misled into thinking it might be something along the lines of a Robert E. Howard tribute, or at least a conceptual album devoted to his character Conan the Cimmerian. Would have been strange, consider how the band's sophomore Circadian Rhythm was a pendulous, pensive concept cross-fusion of melodic death and dark progressive elements. Just a cursory glance at the cover reveals a modern cityscape, though, so it appears the Belgians have decided against the swords & sorcery that the title implied, but that's really alright, because I'm not quite sure how such a controlled act like this would have pulled it off.

The Cimmerian Years follows somewhat loyally in the footfalls of its predecessor, with a mix of death and doom elements cast in the glow of pristine production values, rhythmic variation and a mash of vocal styles that include grunts, snarls and mid-ranged male cleans. Songs like "Second Mirror" and "The Carnival of Miscreation" almost have a folk-like drive to them, in which the melodies snake and loop about, begging a comparison to earlier period Opeth. But then, much of the mix and modernization accrued by Thurisaz is more redolent of modern Opeth. If you're picking up what I'm putting down, then you'll note that I think this album sounds like a lot like someone pulled out various aspects of the Swedes' entire catalog, from Morningrise to the more modern Ghost Reveries, then tossed in a handful of Dan Swano's Nightingale, Katatonia or the lesser known Swedish prog metal outfit Wolverine.

Not to say that its terribly derivative, or that it fails to embark on a journey of its own, but I often found myself lapsing off into unconsciousness as I was trying to absorb myself into its polished flights of morose fancy. I found myself distraught by the rasped vocals, they sound a bit cheesy in a mix so clean, whereas the pianos and synthesizers woven into the background also failed to distinguish themselves outside of a mere, ambient accompaniment. There are some fine vocal harmonies throughout, especially in tunes like the brooding folk of "Inner Voices" or the intro to "Fare Thee Well", but they often reign in too tightly to create a numbing sensation that drained my attentions. The Cimmerian Years has its moments, and fans of Circadian Rhythms should not find themselves too disappointed, but there's too much focus on the variation of its conflicting styles, and I felt it was a bit too subdued on the whole.

Verdict: Indifference [6.5/10]

http://www.thurisaz.be/

Bethlehem - Stönkfitzchen EP (2010)

Last year's remastered re-release of S.U.i.Z.i.D, with Kvarforth's vocals, was absolutely unwelcome at my table, since the original is a classic in need of no reconstruction whatsoever, and its new visage did nothing but pale alongside the original. However, let this not be a reflection on either Kvarforth's abilities or the general quality of Bethlehem's body of work, because neither are really in question. With the Stönkfitzchen EP, the two forces continue their relationship in a more welcome fashion: with new material that returns to the S.U.i.Z.i.D era, without completely abandoning the more progressive Gothic rock transformation the band underwent on their 21st century fare like Mein Weg.

There IS one rehashed track here from S.U.i.Z.i.D., which is of course the incredible "Yesterday I Already Died Today", once again rendered with Kvarforth's vocals. And once again, it's not quite as good as the original, despite the added melodies, but the basics motifs are still present. As for the new fare, "Kalt regelt ab die Krankgeburt" is a beautiful number cast in the same mould as that band's 1997-98 era, with a tranquil acoustic intro, beautiful, central depressive melody, surges of aggression, and Kvarforth erupting into various shitfits that truly work within the concept of the band. "Pillerthrillaren" and "Kandierte Verlosung zu Ross" are likewise superb, atmospheric atrocities which cautiously balance the band's razor guitars with delicate Gothic atmospheres and lush inhibitions. "The 11th Hour" opens as delicious, voracious, driving evil black metal in the vein of their early years, but then peters out into crushing doom.

About the only new song I didn't bust a nut over was the opener, "Was irh seid, das waren wir - Was wir sind, das werdet ihr", which opens with gloomy piano and dire blues but picks up into some Hellhammer-like rhythms that did nothing for me, however even here the vocals are pretty good and they eventually break out a captivating, somber melody. But all in all, this is a far more tasteful direction for the band. I've long felt the S.U.i.Z.i.D era marked the band at their peak, so it's reaffirming to hear the band expand upon this material towards the future. I don't feel like we needed another inclusion of "Yesterday I Already Died Today", but otherwise this is well worth the money to any Bethlehem fan wishing to kick the band a few bucks and see them continue as one of Germany's most intriguing dynasties. Once those guitars ring out in "Kalt regelt ab die Krankgebut", you will once more be transported into their wrist-cutting Elysium.

Verdict: Win [7.25/10]

http://www.myspace.com/bethlehemasylum

Throes of Dawn - The Great Fleet of Echoes (2010)

Throes of Dawn are a fairly interesting Finnish band who turned some heads when they transitioned from their melodic black metal roots into a quite fashionable, atmospheric hybrid of gothic and black metal. I personally enjoyed their 3rd album, Binding of the Spirit a good deal, a subtle and powerful infusion of consistent melodies, one of those albums you just slide into your CD player and feel hard pressed to turn off, even though it feels slow to develop. Not so much a fan of their following effort Quicksilver Clouds, but that too had its moments. I had probably written the band off after this, but six years later they return with their most highly atmospheric, least 'metal' offering to date, The Great Fleet of Echoes.

After such a hiatus, one might wonder whether the band could have a change of heart and return to their blacker roots, but that is just not the case here. If anything, The Great Fleet of Echoes takes the lush synths, acoustic and clean guitars, pianos and dreamy vocals of its predecessor to a new height, and the entire piece plays out like some fantastic idyll caught between dew-stained breaths on a cold, post-apocalyptic morning, or one on which you simply 'wake up' to a new level of reality that moves about you like poetry. Henri Koivula's vocals here are bound to appeal to the Sentenced/Paradise Lost/Crematory gothic metal sect, often resounding through a mid range, or resorting to mysterious whispers. This is not a riff-intensive album, so if you come into the songs expecting much in the way of brazen, memorable melodies you could be disappointed. This is more of an attempt to encapsulate an enigmatic, and gloriously depressing environment within 55 minutes of playtime.

Nothing here is even remotely complex, and to be truthful my favorite moments on the album are those that delve into the more psychedelic edge, like "Soft Whispers of the Chemical Sun" with its ambient synth segues. This is a great track, kind of like a mid-era Tiamat meets Tangerine Dream, and in fact, at this album's best, it does remind me somewhat of Tiamat's inspiring, beautiful album A Deeper Kind of Slumber. Other memorable tracks here are the heavier, grooving "We Have Ways to Hurt You", the somber "Blue Dead Skies" or the multi-layered epic sensations of the title track. Sadly, the album is not all moments of bliss. Many of the tracks feel stretched out and dull, despite the atmosphere they so long to impart. Though the melodies are qualified and the vocals tight, very rarely do they leap off the disc into the imagination, creating a mild ennui where the mind drifts elsewhere.

Those of you who cherished the bands past albums Binding of the Spirit and Quicksilver Clouds might want to give it a listen, and also fans of other melodic black metal bands gone psychedelic like Fall of the Leafe or Autumnblaze, though Throes of Dawn don't run quite so far afield. I might add that the lyrics here are quite nice. Otherwise, I didn't take to the album, aside from the few better songs, so if you're a newcomer I'd cut a path straight for Binding of the Spirit.

Highlights: Soft Whispers of the Chemical Sun, The Great Fleet of Echoes, Blue Dead Skies

Verdict: Indifference [6.75/10] (from the open wounds the future runs)

http://www.throesofdawn.com/