Tag: Debemur Morti Productions

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

White Ward – False Light – Album Review

Artist: White Ward

Album Title: False Light

Label: Debemur Morti Records

Date of Release: 17 June 2022

I missed the White Ward’s last album, ‘Love Exchange Failure’ in 2019, so I also missed the fact that the Ukrainian band had added a new musician to their ranks, saxophonist Dima Dudko. Those that are familiar to my reviews will know that this spells trouble, for I am not a lover of this particular instrument. Neither am I a fan of brass instruments, the trumpet being top of my hit list. And yes, you guessed it, the trumpet also features on ‘False Light’, albeit not to the same extent as the saxophone.

I have got on my high horse plenty of times, bemoaning the increasing prevalence of these instruments in metal music over the last few years. But this time, I really listened and delved deep within myself to try to work out what it is that puts me off so much. And the reason why I am so keen to do this right here, right now, is because, were it not for my dislike of brass instruments and the saxophone, we would be standing in the presence of a genuine top five or top ten contender in my 2022 ‘Album of the Year’ list. In every other conceivable way, ‘False Light’ is a behemoth, a fantastic body of work that impresses me no end. I felt I had to explore my prejudice in greater detail then, and to better understand it.

This I have done, and I have had a bit of an epiphany in the process. Sadly, not the epiphany that I wanted, where I could genuinely say ‘I like the trumpet and the sax’. But a few realisations have been made. The first is that brass instruments within an ensemble, or as part of wider orchestration, I can handle and have no issue with at all. My problems stem from the instruments when they are solo, prominent within the composition. If they are used sparingly in this context, quietly or gently within the general framework of the music, again I can deal with this. But, if the saxophone or trumpet is used as the primary instrument within a song, or within a particular part of a song, that’s where it gets difficult for me.

I can only liken it to the way in which the sound of nails down a blackboard, or a knife cutting an empty plate can set some people’s teeth on edge. I have realised that’s the case for me with the sax or trumpet; I don’t want to dislike their involvement, but I simply can’t help it. I grant you that part of me wishes that the solo notes were played by a guitar, but I’d accept the flute, violin, piano, instead. Anything but the sax or trumpet. I’m sorry to all those who like these instruments, but I can’t help the way I feel.

It’s therefore inevitable that others will be giving ‘False Light’ a far better score and write-up than I will, but as I said earlier, everything else about this record is out of the very top drawer and should be commended as such. If you’re not afflicted with similar prejudices to me, prepare to have your mind blown.

The album begins with the appropriately named ‘Leviathan’ because the song is an absolute monster. At over thirteen minutes, it’s a bold opener but it becomes quickly apparent that White Ward are not afraid of taking risks or tying new things. The opening minute or more is quiet, tentative, and shy, before in marches the heavy guitar tones of Yurii Kazarian and Mykola Previr, gurgling and rumbling bass, and interesting drumming courtesy of Ievgen Karamushko that delivers blasts but is much more refined and varied than that. We get an early blast of the sax but as I said earlier, I can live with it in this context, especially when it is quickly replaced by some crushing black metal that’s powerful, emotional and melodic. The rasping growls of vocalist and bassist Andrii Pechatkin are truly nasty and also strangely full of sorrow at the same time. The atmosphere and drama is palpable despite the frenetic and aggressive black metal assault which, blended with the melody makes it a real force to be reckoned with. At almost exactly the mid-way mark, everything drops away to reveal a minimalist post rock ambience, upon which guest trumpeter Jerome Burns adds his solo skills to take us into avant-garde jazz territory for a good couple of minutes, before the heaviness returns, along with more pronounced saxophone embellishment from Dima Dudko. Clean vocals from Vitaliy Havrilenko add yet another dimension to the song that honestly feels like it lasts half the time that it does. And that’s in spite of my aforementioned prejudices and misgivings. That’s how good this moody composition truly is.

The even gloomier and moody ‘Salt Paradise’ throws in a curveball thanks to the almost spoken-word singing of Jay Gambit, nothing like the aggressive and atmospheric black metal fare found elsewhere on this album. Nevertheless, it shows another side to the band, and will intrigue many a listener, even if it’s not an instant favourite of mine.

The bass within the dark opening to ‘Phoenix’ feels like it could jump out of the speakers and throttle us, such is its demonstrably menacing approach and tone. The vocals, when they arrive are equally as fierce and dangerous, whilst the all-out speed of the fast-picked tremolo riffs are a thing of real frigid beauty. I also love the chosen electronic synth sounds that bathe the quieter passages within the song.

Elsewhere, I cannot resist some of the riffing and melodic intensity within ‘Silence Circles’, a song that unleashes some of the most savage but majestic material found anywhere on the record. Plus, the playful, groovy NWOBHM-inspired riff that jumps out towards the end is another unexpected delight. Speaking of the unexpected, White Ward again toy with the listener with ‘Cronus’, a very different track that features Vitaliy Havrilenko once more, and calls on a more Goth-sounding vibe, blending this with post black metal tendencies and more of a punk attitude in places.

But undoubtedly my favourite track on ‘False Light’ is the title track which stands at an impressive near-fifteen-minutes. I actually like better the avant-garde passages within it, plus the latter stages feature my favourite riffs. Add to this a more pronounced quota of groove, beautiful clean vocals from Adam Symonds, and a bona-fide lead guitar solo, and it has to end up at the top of the pile for me. It also underlines the fact that nothing will beat the sound of a well-executed guitar solo; it just can’t be done.

In order to remain consistent, I have to mention the 66-minute run time which is just a little too long in my opinion, especially when you consider just how intense and aggressive much of the music is on this album. This minor niggle alongside the issues discussed in detail at the outset of this review mean that ‘False Light’ falls a touch short of being considered as an essential album as far as I’m concerned. However, I am absolutely certain that most of you out there will disagree and proclaim ‘False Light’ as a masterpiece of extremity and originality. And I get it, I really do – this is a band and a record that deserves all of the plaudits that it gets, and I wish the band nothing but success with it. And success is what they will get thanks to the vast majority of the heavy metal community lauding another superb release.

The Score of Much Metal: 88%

Check out my other 2022 reviews here:

Winds Of Tragedy – As Time Drifts Away

Tim Bowness – Butterfly Mind

Denouncement Pyre – Forever Burning

Truent – Through The Vale Of Earthly Torment

Wind Rose – Warfront

Kardashev – Liminal Rite

Artificial Brain -Artificial Brain

Seventh Wonder – The Testament

All Things Fallen – Shadow Way

Def Leppard – Diamond Star Halos

Lord Belial – Rapture

Buried Realm – Buried Realm

Stiriah – …Of Light

Remains Of Destruction – New Dawn

Crematory – Inglorious Darkness

IATT – Magnum Opus

Iris Divine – Mercurial

Decapitated – Cancer Culture

Bekmørk – The Path Nocturnal

Septic Flesh – Modern Primitive

Blut Aus Nord – Disharmonium – Undreamable Abysses

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Blut Aus Nord – Disharmonium – Undreamable Abysses – Album Review

Artist: Blut Aus Nord

Album Title: Disharmonium – Undreamable Abysses

Label: Debemur Morti Productions

Date of Release: 20 May 2022

Blut Aus Nord have never been an easy band to get to grips with. With every passing album, they seem to offer something different, or simply change direction. It is with total honesty that I admit that the last Blut Aus Nord album I truly enjoyed was 2012’s ‘777 – Cosmosophy’, the final part of the ‘777’ trilogy that was released in full over a two-year period. Since then, I have always taken an interest in their musical offerings but, for one reason or another, none of the ensuing three full-length albums have tickled my fancy enough to pen a review at manofmuchmetal.com. Not even the more ‘melodic’ and ‘whimsical’ ‘Hallucinogen’ from 2019. But it’s 2022 and because I’m devouring as much music as I can this year, I couldn’t let album number 14 slip by without taking a closer look.

They may be described as a black metal band but the French trio of W.D. Feld (drums, keys, electronics), Vindsval (guitars, vocals), and GhÖst (bass) have not neatly fitted this mould for some time now. Depending on your view of black metal, you may disagree; you might believe that Blut Aus Nord are the very definition of the genre, or an abandoner of the scene – much like the corpse paint worn by many in the genre, opinions tend to be rather black or white when it comes to the question of ‘what is black metal?’ I think we can all agree though, that Blut Aus Nord have always delivered interesting music, never shying away from testing boundaries and going wherever they want to. ‘Disharmonium – Undreamable Abysses’ is no different.

Before you even hit the ‘play’ button, there are two big clues as to what might be in store with this new record. First, there’s the striking artwork (Maciej Kamuda) which doesn’t feel particularly inviting, depicting what appears to be a gruesome creature from the depths. Then there’s the title of the album itself: ‘Disharmonium – Undreamable Abysses’; it’s hardly the moniker for an album to be enjoyed on a lazy Sunday afternoon with coffee and cake. And so it proves to be.

From beginning to end, Blut Aus Nord test the listener with some truly otherworldly soundscapes here. Comprised of seven individual tracks, ‘Disharmonium – Undreamable Abysses’ is, I believe, intended to be listened to and enjoyed as a whole, more of a cinematic film score for some nasty, depraved horror chiller than a collection of songs. For long periods, the music is heavy and hypnotic in nature, with relentless drumming, a throbbing bass at the bottom end and generally fast-picked riffs. But within the loose black metal framework, unsettling synths and electronic sounds assault the ears, as well as some harsh lead sounds from Vindsval’s guitar.

When put all together, there’s a definite foreboding malevolence that envelopes the music; and this malevolence is not even hidden in the dark, shadowy corners, as it looms large throughout. Even when the extreme metal trappings are reduced in order for the music to explore more ambient climes, these are not gentle and soothing. Instead, the metallic instruments are replaced by evil sounds and textures that maintain the feeling of unease. Even the vocals, such as they are, are a collection of incoherent whispers, growls and moanings that sit so far back in the mix that they are deliberately unnoticeable at times, only coming to the fore when necessary for added impact. Put simply, whichever direction Blut Aus Nord take on ‘Disharmonium – Undreamable Abysses’, the music is the sound of unimaginable nightmares.

And yet, there is something about the music here that pulls me back and demands that I listen again and again. One of the least accessible of the tracks is entitled ‘Into The Woods’ and it is chilling. Sounds that border on noise and perhaps stem from industrial influences dominate the composition, giving it a hellish feel overall. But the masochist in me cannot help but listen to the song, almost revelling in the sheer audacity of the music, whilst the hypnotic sounds seep into my brain and won’t let go. It’s like I’m experiencing a crude attempt at brainwashing, but it actually works, or seems to.

I won’t go as far as to say that I find pure enjoyment in listening to ‘Disharmonium – Undreamable Abysses’, because that’s not true, not entirely. It is certainly more of a compulsion that brings me back, much like my compulsion to look through my fingers at a picture or video of a large hairy spider; I’m revulsed, yet strangely drawn to the music in just about equal measure.

Nevertheless, there are parts of ‘Disharmonium – Undreamable Abysses’ that I quite like, or like more than other parts. For example, the guitar riffs and tones within ‘Neptune’s Eye’ are very ear catching and I’m drawn to them more with each passing listen. There’s even a vague hint of slower, groove or melody lurking somewhere deep within the bowels of the song – just don’t shout about it otherwise we might scare it away. The bold intro to ‘That Cannot Be Dreamed’ is cool too, as is the lurching, lumbering nature of the composition, created by frequent uncomfortable tempo changes. And there’s also the opening track, ‘Chants Of The Deep Ones’ which on one hand, is a fast, aggressive affair, full of uncompromising instrumentation just as you’d expect from extreme metal. But on the other, it’s another of those deceptively alluring pieces of music that almost insidiously leaves an impression on me. For all its unnerving traits and demonstrable spite, it’s easily one of the most memorable tracks on offer here.

I have waffled on for nearly a thousand words and yet I still don’t feel like I’ve really got to the true heart of this album. It is like very little else that I have heard for a good long while, maybe ever. It is the sound of darkness, depravity, and evil incarnate, as intriguing as it is unnerving and unsettling. Whether or not you like ‘Disharmonium – Undreamable Abysses’ will very much depend on how open-minded you are and how tolerant you are to music that has a thread of listenability about it but will do its best to convince you otherwise. I admire it, and I’m fascinated by it, rather than charmed by it. And yet, there is a distant charm to it too. Go figure. I’ll leave it there before the review descends into indecipherable inconsistencies and unfathomable oxymorons. Instead, have a listen for yourself and see what you think.

The Score of Much Metal: 78%

Check out my other 2022 reviews here:

Drift Into Black – Earthtorn

Spheric Universe Experience – Back Home

Outshine – The Awakening

Cosmic Putrefaction – Crepuscular Dirge For The Blessed Ones

Zero Hour – Agenda 21

Scitalis – Doomed Before Time

Morgue Supplier – Inevitability

Visions Of Atlantis – Pirates

Evergrey – A Heartless Portrait (The Orphean Testament)

OU – One

Haunter – Discarnate Ails

Aara – Triade II: Hemera

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Aara – Triade II: Hemera – Album Review

Artist: Aara

Album Title: Triade II: Hemera

Label: Debemur Morti Productions

Date of Release: 13 May 2022

There’s prolific, and then there’s Aara. Formed in 2018, Swiss atmospheric black metal band Aara have released not one, not two, or even three albums in their short career. No, ‘Triade II: Hemera’ is actually their fourth full-length release in less than four years. Add an EP into the mix too, and the mind just boggles as to where the band find the time, the energy, and the inspiration to record so much music.

A trio, Aara are comprised of multi-instrumentalist Berg (which is German for ‘Mountain’) who handles the bass, guitar, and samples, vocalist Fluss (German for ‘River’), and drummer J. Deliberately enigmatic, little else is known about the musicians, Berg and Fluss in particular, except that they are seemingly inspired heavily by literature. ‘Triade II: Hemera’ is the second part in what the band term as the ‘Melmoth’ trilogy, inspired by the Charles Robert Maturin Gothic novel of 1820 entitled ‘Melmoth The Wanderer’. I’ve never heard of it if I’m honest, but that doesn’t hamper things particularly because, like much extreme metal, the vocals are indecipherable. In the case of Fluss, his shrieks and screams are incredibly high-pitched and often barely audible above the aggressive cacophony that runs alongside.

And when I refer to the ‘aggressive cacophony’, I really mean it, because from start to finish, ‘Triade II: Hemera’ is a truly vicious beast, with a real sense of nastiness and intense claustrophobia. Even the relatively quiet intro to the first track, ‘Phantasmagorie’ has a deeply ominous feel to it, as if we’re being subjected to the sounds of a foreboding darkness, from which there is no escape. From there, icy fast-picked guitar notes and acoustic picking are accompanied by despairing wails, the rattling of chains, and grotesque atmosphere, before the full force of the song comes in to smack us over the head with no mercy. But interestingly, the full force of the black metal assault is laced with melody. Blastbeats, savage screams, and charging, relentless riffing are somehow given a softer edge by the lead guitar lines that offer genuine melody.

That said, I like the way that the melody is occasionally twisted to become less welcoming and serene; it’s like Aara want to lull us into a false sense of security, before reminding us that they are ultimately an evil, sadistic entity that are just as happy causing us pain and anguish as they are entertaining us. Nevertheless, the more I listen, the more catchy the music becomes, especially when the religious-sounding choir enters in what is an intriguing, but thoroughly engrossing dichotomy – it genuinely works.

Naturally, this being black metal, a word is required at this juncture on the production. It isn’t the ‘we recorded this in a shoe box on a four-track’, but it is reasonably lo-fi, meaning that more than anything, it’s not easy or comfortable to listen to. The music has an energy which definitely comes from the organic, ‘live’ feel to the sound. But not all of the instrumentation is afforded the greatest clarity, with the bass often just a passing hum in the background, or non-existent altogether. The drumming is utterly relentless, a barrage of blasts and fast fills, but I wish the sound was a little more robust to give it an even greater potency. At the end of the day, though, this is nasty, spiteful black metal regardless of the melodic edge, so perhaps the chosen production is completely the right decision for the Swiss trio. And who am I to argue?

Instead, I will focus on the music and another of the six tracks to really catch my attention is ‘Sonne Der Nacht’. Once again, the bulk of the song isa relentless and punishing slice of fast, aggressive black metal, but it is laced with interesting ingredients. First up is the use of traditional Indian vocals, that adds a different flavour to the music. The female voice creates a sense of mystique within the song, that’s then built upon by sections of slower, more melodic fare that allow a bit more of the melody to seep through, definitely something that works well given the overall swift, uncompromising nature of the vast majority of the song. To cap it all off, there are a couple of moments when the song indulges in truly anthemic melody led by the lead guitars of Berg, the kind to really get me grinning evilly.

‘Das Dunkel Der Welt’ is another thunderous affair, but again, within the cacophony, there’s plenty of pretty majestic melody actually, the kind that is incredibly insidious; it isn’t until you’ve listened a few times that you fully realise just how memorable the song is, because most of your attention is drawn to the more abrasive and unforgiving aspects of the composition. In fact, the same could be said of other tracks too, including the massive ‘Strepitus Mundi’, an eight-minute affair that’s cold and claustrophobic in its almost unhinged violence, yet subtly charming thanks to the undercurrent of melody, albeit occasionally veering towards the discordant and uncomfortable just to ensure that the listener doesn’t get too comfortable.

Having heard nothing of Aara in the past, I came into this review with no real expectations of any kind. In a way, this makes it all the more pleasing to be able to say that ‘Triade II: Hemera’ is a real diamond in the rough. The production and the venomous violence is the rough, whilst the clever use of melody and the injection of elements like the Indian vocals, the choir, and even the Jewish shofar horn are the gems to be discovered if you are prepared to take a proper, detailed listen to this album. You’ve got to like black metal to enjoy Aara’s music, but if you do, then ‘Triade II: Hemera’ comes with a strong recommendation. And, on current form, we can probably look forward to ‘Triade III’ within a few short months too!

The Score of Much Metal: 88%

Check out my other 2022 reviews here:

Imminent Sonic Destruction – The Sun Will Always Set

PreHistoric Animals – The Magical Mystery Machine (Chapter 2)

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Cailleach Calling – Dreams Of Fragmentation – Album Review

Artist: Cailleach Calling

Album Title: Dreams Of Fragmentation

Label: Debemur Morti Productions

Date of Release: 11 March 2022

The Cailleach is an entity from Gaelic myth, with a literal translation of ‘old woman, hag’. The Cailleach is associated with the creation of the landscape and weather, particularly the stormy, cold weather of winter. There is, apparently, a softer, warmer side to the Cailleach too, that tries to provide care to nature and animals during the winter months. And the reason why I am beginning this review with this lesson in Gaelic myth, is because the Cailleach and the music of Cailleach Calling could not be better bedfellows, as I shall attempt to explain.

Formed around a year ago in the heart of the worldwide pandemic, Cailleach Calling is a trio that features some familiar protagonists amongst the streamlined ranks. The entity was put together in California by the Dawn Of Ouroboros duo of Tony Thomas and Chelsea Murphy. On this record, Thomas handles the guitars, synths, and the bass, whilst Murphy takes care of the vocals. Ukrainian drummer Yurii Kononov rounds out the three-piece. With reasonably average cover artwork, I probably wouldn’t have even checked out ‘Dreams Of Fragmentation’, the debut from Cailleach Calling, had it not been for the Dawn Of Ouroboros connection. Thankfully though, my instincts didn’t let me down on this occasion, and I have been duly rewarded.

Described as ‘atmospheric and progressive black metal’, Cailleach Calling certainly create an interesting final product, a soundscape that bears little or no real resemblance to the visuals on the front cover, which is a photo of a city at night, the lights shining brightly against a star-studded sky. It’s all very intriguing, leading to a sense that, when I press play, I have very little idea of what I’m likely to hear.

As it turns out, I find myself pleasantly surprised.

If anyone read my recent review of Tundra’s ‘A Darkening Sky’, you’ll have read all about my general dislike for deliberately lo-fi production, usually the preserve of the black metal scene. If not, please check it out as it gives some useful context here. And that’s because the only major gripe I have with ‘Dreams Of Fragmentation’ relates to the production. Admittedly it is nowhere near as bad as some of the offerings of some ‘trve’ black metal, but it does disappoint me unfortunately. The music across the four tracks on this record are generally incredibly appealing and interesting – more on them shortly – but the album is cloaked in a very lo-fi production that means that you can’t hear the various instruments in anywhere enough detail. At times, when the synths come into the songs with real force, it’s nigh on impossible to hear anything else because they take over. In general, it all feels a little distant, muffled, and indistinct.

At this point, I will readily accept and recognise that this is almost certainly a deliberate decision taken by the trio of Cailleach Calling. I also understand the reasons for this conscious choice. But that doesn’t stop me from wishing the album had been given a clearer production. Others will almost certainly disagree with me, but this is where I personally stand.

But enough of the quibbles over the production because they should not detract wholly from the music on ‘Dreams Of Fragmentation’, the area in which Cailleach Calling absolutely excel. Four tracks spread across 40 minutes should tell you a lot about this debut. The band isn’t interested in presenting us with easy to digest four- or five-minute blasts of extreme music, oh no. Instead, they have chosen to create four long compositions that take their time to explore their chosen soundscapes. It suits the music perfectly too, because it is most definitely full of atmosphere, almost other-worldly at times, and hypnotic also. The songs are sufficiently varied to maintain the attention of the listener, but they also spend as long as they need to create a certain atmosphere, or invoke a certain feeling, be that something aggressive, or something a great deal calmer. In terms of the latter, Cailleach Calling have cleverly infused their black metal with plenty of serene, beautiful ambient sounds and textures too.

A cacophony of fast riffing, blastbeats, and almost inhuman shrieks and screams confronts us from the very beginning, as Cailleach Calling waste no time in making their presence known. But the aggression is tempered by swirling synths that weave in and out of the almost incessant barrage of black metal aggression, layering the tumult with a sense of cosmic calm and serenity, but also unsettling darkness too. Finally, when the blasts cease, they are replaced by a hypnotic mid-tempo section where the vocals lower to almost subterranean levels. From there, there’s a more pronounced ebb and flow to the pace, whilst the synths come ever more to the front, to bathe the song in their elegant glow. Regardless of the production quality, I find myself drawn into the song, as if I have no power to resist, and the band do that largely through the strong melodies and textures that they create along the way.

By and large, the same blueprint is followed with ‘Bound By Neon’ but, if anything, the melodies are even stronger than on the opener. Not only that, but I find the synths to be even more beguiling and there are sections within the song when the black metal assault completely dies away in favour of an ambience that’s welcoming, almost Riverside-like with the warm guitars plucking away to a vibrant synth-led backdrop.

It is with ‘Cascading Waves’ though, the 15-minute centrepiece, that Cailleach Calling make it utterly impossible for me to do anything other than fall completely under their spell. For nearly two-thirds of the track, there is not a hint of black metal anywhere to be heard, as the trio delve deeply into ambient, minimalist territory. The results are stunning too, as the melodic intent is incredibly strong whilst being highly soothing and meditative too. When Murphy enters, she half sings and half speaks cleanly, and then, clean guitars enter alongside a simple drum beat and I’m in love; the music is just so deep and immersive. The subsequent explosion of black metal venom is all the more violent as it hits like a tsunami without warning. However, cleverly, the pandemonium is still laced with the earlier melodies, lending an air of sophistication where it has absolutely no right to be.

The final track, ‘Mercurial Inversion’ returns to the black metal battery from the start but if I’m not much mistaken, it happens to contain some of the most immediate material on the album, as well as some of the most abrasive content. The opening couple of minutes deliver no respite from the onslaught, but nearing the halfway point, the pace changes to a more infectious slower tempo, complete with lead guitar melodies that catch the ear from the very first listen.

In what feels like no time at all, 40 minutes has disappeared and I’m at the end of another spin through of this album. And that’s the biggest compliment that I can give ‘Dreams Of Fragmentation’, the thoroughly impressive debut from Cailleach Calling. An album like this can sometimes be a complete drag, where it feels very much as if time stands still. Not so here, and what’s more, when I reach the end, I want to press play again and dive in once more. Yes, the production could be better for my personal tastes, but once I got used to it, I realised that it really doesn’t detract too much from my overall enjoyment. Instead, I find myself listening intently, uncovering new things or simply allowing myself to drown in the brutal yet beautiful music that Cailleach Calling have created here. Highly recommended.

The Score of Much Metal: 89%

Check out my other 2022 reviews here:

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Pure Wrath – Hymn To The Woeful Hearts – Album Review

Artist: Pure Wrath

Album Title: Hymn To The Woeful Hearts

Label: Debemur Morti Productions

Date of Release: 18 February 2022

It was back in 2020 that I came face to face with an impressive three-track EP by an outfit by the name of Pure Wrath. The EP was entitled ‘The Forlorn Soldier’ and it was predominantly the work of one man, Indonesian multi-instrumentalist Januaryo Hardy. I described the music on that EP as ‘melodic, atmospheric black metal with a symphonic and blackgaze element’. No wonder I liked it in that case – on paper, this is the kind of music that tends to be right up my street.

‘Hymn To The Woeful Hearts’ is the follow-up to that EP, the third full-length of Hardy’s career under the Pure Wrath moniker. To be more precise, this is a companion piece to the EP, a continuation of the themes and lyrical content which are actually incredibly raw, angry, and poignant. Given the stark and emotive cover artwork, the darkness that pervades this record is of very little surprise at all. In Hardy’s own words:

“The record serves as a dedication to a mother and survivor of the 1965 Indonesian genocide whose son was kidnapped, tortured and brutally beheaded. For more than fifty years she had to pretend everything was normal through every second of her sorrow, living under the shadow of the still-powerful perpetrators.”

Musically, ‘Hymn To The Woeful Hearts’ also takes up the baton of ‘The Forlorn Soldier’ by delivering six generally lengthy compositions of melodic yet aggressive, atmospheric black metal through which, a vein of melancholy runs unashamedly. Once again, Hardy is joined by drummer Yurii Kononov and pianist/cellist Dice Midyanti, thus ensuring a consistency of approach across the board. It means that anyone who heard ‘The Forlorn Soldier’ and enjoyed the experience will be in for a similarly positive listening experience here.

As if to underline my observation about the melancholy vein that runs through Pure Wrath’s music, the opening track, ‘The Cloak Of Disquiet’ opens with a rather solemn and poignant intro comprised of a lone cello and gentle acoustic guitars, atop what appears to be the quiet crackle of flames. The melody introduced at the outset is then reprised by the lead guitar as blastbeats, and cold, fast riffing, muscle their way to the forefront of the song. This is pure black metal territory; frosty and uncompromising but with a layer of majestic melody weaved in, accented by atmospheric synths along the way. The track ebbs and flows really nicely too, allowing moments of calm and quiet introspection to douse the aggression and increase the melancholy. The addition of a short spoken-word passage that I presume represents the mother in the story adds extra gravitas to what is a very classy opening composition.

As with previous efforts, the production is a touch lo-fi, with a harsh, gritty edge that harkens back to the late 90s. It actually suits the music well, although I have no idea if it deliberate on the part of Hardy and friends. Personally, I’d have liked a bit more bottom end to get the bass to feature more prominently, but otherwise it serves the music reasonably well.

My personal favourite track has to be ‘Footprints Of The Lost Child’, the longest piece on the record, clocking in at nearly ten minutes. After a typically brutal opening couple of minutes, there’s a noticeable increase in keys and it signals the introduction of a scintillating melodic passage, where the pace slows to a mid-tempo and then choral-like clean vocals enhance the whole solemn atmosphere with real aplomb. Again, the transitions between fast and slow are slick and smooth, never clunky or contrived. Acoustic guitars emerge from a heavier section, out of the shadow of a distorted guitar note that’s allowed to ring out and fade away. Joined by piano and cello, it is easily the more moving sequence on ‘Hymn To The Woeful Hearts’, even if I wish it was allowed to remain in place for longer. No matter though, because the ending has a wonderfully bitter-sweet nature to it; part crescendo, part incessant angry violence. It is simply stunning and has the power to capture even the most woeful of hearts.

Elsewhere, the surprisingly elegant, yet darkly foreboding ‘Years Of Silence’ is another quality affair. The synths are all over this one, whilst the drumming is an utterly relentless battery. Even when the lead guitar serves up a really nice poignant melody, as a piano tinkles, Kononov barely lets up his aggressive assault.

The final song is also the title track. An introspective and rather emotional instrumental, there is nothing ‘metal’ about it, and it ends things on an interesting note in my opinion. It features an additional guest guitar contribution from Nick Kushnir and, whilst genuinely sad in tone, it also strikes me on repeated listens and musings, as if there’s an element of warmth and hope about it, as if planting the first seeds of fleeting positivity in an impossibly raw and unimaginable reality.

When I reviewed ‘The Forlorn Soldier’ a couple of years back, I queried whether the music might lack enough variety and therefore suffer in the long-player format. Admittedly, ‘Hymn To The Woeful Hearts’ is only another 14 or so minutes longer, but Januaryo Hardy has answered me perfectly – there is no lack of variety here, no real moments where I switch off and disengage; from the first minute to the last, I listen intently and with real enjoyment. The music might not be the most original, the best produced, or the most immediately appealing release of 2022. However, it is most definitely and unequivocally worth every moment of your time, should atmospheric black metal even remotely be your thing.

The Score of Much Metal: 90%

Check out my other 2022 reviews here:

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Doedsvangr – Serpents Ov Old – Album Review

Artist: Doedsvangr

Album Title: Serpents Ov Old

Label: Debemur Morti Productions

Date of Release: 29 October 2021

Continuing apace with my rediscovered love of reviewing, today I bring you my thoughts on a vicious little beast otherwise known as ‘Serpents Ov Old’, the second release from Doedsvangr following up their 2017 debut ‘Satan Ov Suns’. It’s my first foray into the dark, depraved world of this particular band, a band that features musicians from both Norway and Finland. A quartet, Doedsvangr currently consists of vocalist Doedsadmiral, guitarists and bassists Shatraug and BST, and drummer AntiChristian. In addition, ‘Serpents Ov Old’ welcomes two guest vocalists in the shape of Vicotnic and Nag who feature on a couple of the tracks here.

Put simply, ‘Serpents Ov Old’ is a record very much for fans of the black metal scene, but the kind of black metal that’s raw, vicious, spiteful, and full of that dirt and grime that you traditionally expect from the genre. Doedsvangr take their cue from the likes of Venom and Mayhem, but don’t just remain there as pure copycats. Instead, they seek to blend the uncompromising rawness of scything, cold riffs, blasts and depraved growls with a little melody and, as the press release suggests, a rock ‘n’ roll swagger. Thinking about it, given how spiky the music on this album actually is, I suggest ‘concoct’ might be a better adjective than ‘blend’.

At this stage, I’ll be totally honest; ‘Serpents Ov Old’ isn’t an easy listen. The production is deliberately dense and slightly raw, with an emphasis on the treble. It means that, after a while, I get a little fatigued and my ears yearn for a break from the pummelling. And, even at 44 minutes in length, it does feel a little long, with a lack of a wow factor at points within the record. At one point, my eldest daughter was heard to say ‘Daddy, this music sounds all the same’. That’s a little unfair on Doedsvangr, but there is a vague vein of truth there. But regardless of these concerns, I do find myself returning for repeated listens more frequently than I expected.

Personally speaking, I find that Doedsvangr are at their best when the melodies are more overt and anthemic. It doesn’t happen often enough for my tastes but when it does, the results are very powerful. Take ‘As The Rivers Bleed Their Blessings’ as the perfect example. It starts off with a mid-tempo stomp that carries with it a sense of doomy malevolence, an inexorable type of violence that suddenly opens up into a much more accessible and anthemic affair, led by an icy lead guitar line that’s so catchy it’s ridiculous. It’s not only arresting, it provides a little welcome release from the intense battery elsewhere.

The final track, ‘Poisonous Tides’ doesn’t necessarily deserve its run-time of over seven minutes, but it does carry with it a more majestic air than most; it generally plunders a strong, almost hypnotic mid-tempo that has a demonstrable charm, whilst the subtle dusting of melody towards the latter stages ensures that the album ends on a very positive note.

‘Black Dragon Phoenix’ meanwhile benefits from a nice mid-section that injects a more pronounced mid-tempo groove as well as melody. The use of some tortured spoken-word vocals and a hint of cleaner singing helps to add to the sense of drama, making this one of the stand-out tracks on ‘Serpents Ov Old’.

Interestingly, I’m also drawn to songs like ‘Carrier Of Heads’ because of the thunderous drumming that sits at its heart as well as the chosen riffs that are both potent and as impenetrable as a glacier. But within the song, there are periods where it almost gallops with a sense of undeniable arrogance.

Otherwise, the music is pretty devilish, unrelenting, and definitely unrepentant. It will appeal to those who enjoy their black metal in this vein for sure, as it does what it does very well indeed. It’s a more than competent affair, and Doedsvangr are definitely a tight unit, bringing all the necessary skills and ingredients to bear. As far as I’m concerned though, whilst I like a lot of the material here, I’d have preferred a greater use of melody as heard within ‘As The Rivers Bleed Their Blessings’. This is such a good song, it feels like a bit of a missed opportunity not to explore this avenue more. As such, ‘Serpents Ov Old’ is a good album, just not an essential addition to my collection.

The Score of Much Metal: 77%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Kryptan – Kryptan – EP Review

Artist: Kryptan

Album Title: Kryptan

Label: Debemur Morti Productions

Date of Release: 23 July 2021

From the mind of ex-Katatonia and October Tide musician Mattias Norrman, comes a new entity by the name of Kryptan. And, given my love of Katatonia, and my appreciation for October Tide, I am delighted to be in a position to have heard the self-titled EP, or ‘mini-album’ as the record label describe it, and offer you my thoughts on it. I may be several months late to this particular party, but I still feel it is important to keep the spotlight on this band.

To bring Kryptan to life last year, guitarist/bassist/keyboardist Norrman enlisted the help of fellow October Tide bandmate, vocalist Alexander Högbom and Wretched Fate drummer Samuel Karlstrand. Together, the trio have created an intriguing and entertaining four tracks that seek to plunder the sound of yesteryear. To be more precise, Kryptan have summoned the spectre of the 90s’ Scandinavian black metal scene. It’s a style that has never truly gone away, albeit with varying levels of success depending on the outfit concerned. And I have to say that, despite the singularly uninspiring artwork that adorns this EP, Kryptan have managed to create one of the most promising homages to this style of music I’ve heard in a while.

Handling all the guitars and bass himself, Mattias Norrman sounds really rather inspired, creating a succession of arresting and authentic riffs across the four compositions. From slower, more doom-laden sounds, to some genuinely cold, sharp and frosty fast-picked riffs, it’s as if Norrman was born to play this kind of music, positively revelling in the opportunity to indulge in a passion that has lain dormant at the expense of other priorities. He is also responsible for the swathes of synths that bathe the music in eerie atmospheres.

What it means is that this debut self-titled EP is irresistible, boding extremely well for the ensuing full-length debut that we’re reliably informed is in the process of being created right now. It’s a mouth-watering prospect, and I’ll be sure to keep my eyes and ears peeled on news of progress.

But back to this EP and it doesn’t take long for Kryptan to hit their stride and demonstrate just why they could be a force to be reckoned with. ‘A Giant Leap For Whoredom’ is the slightly odd name given to the opening composition, but from the very first second, we’re hit with a fast, but icy fast-picked lead guitar line, that’s quickly joined by frantic blastbeats, deeper riffs, and an audible bass that rumbles with authority at the bottom end of the music. The tortured, gritty growls and snarls of Alexander Högbom are the perfect accompaniment to the bitter, raw soundscape that surrounds him. The pace is rapid for the most part, but there are sections where the music slows to inject more by way of dark atmosphere as well as a smidgen of doomy groove. The riffs and guitar lead lines are catchy enough in themselves, but when a greater emphasis is placed on the synths in the latter stages, the melodic intent increases wonderfully, albeit not too much.

I’m reminded of Emperor at their early best at the beginning of ‘Bedårande Barn’, thanks to a great fast-picked lead guitar line that’s both catchy and strangely malevolent. Overall, this is a slower track that introduces greater atmosphere and sense of cloying doom, enhanced by the layers of synths that seek to suffocate and entice. That said, the frantic tempos are evident at points when required. As the track draws to a close, the tempo slows again and the guitar work comes to the fore, a slower reprise of that early lead line; it’s intelligent, undeniably catchy, and gets right under my skin.

Norrman’s doom influences are writ large at the beginning of ‘Blessed Be The Glue’, thanks largely to an intro that features the sounds of church bells which duet with the synths. The quality is impressively consistent, as the trio deliver another composition that lives long in the memory, thanks to clever changes of pace, from brisk black metal to chunkier doom-style riffs, complete with a few pinched harmonics and moments of Gothic-like keyboard-led sinister minimalism. Vocalist Alexander Högbom also plays around with some gruff spoken-word delivery in the centre of the track, which only adds to the intrigue and sense of theatre as far as I’m concerned.

The final composition to feature on this release is the charmingly-titled ‘Burn The Priest’. Kryptan do not significantly deviate from their chosen modus operandi, but neither should they. It’s another cracking track that blends ferocity with a strange, almost compelling hypnotic quality, generally created at the hands of Mattias Norrman with his guitar playing. If anything though, this might just be the most overtly melodic of the four songs, especially later in the song as thunderous drumming supports yet another compelling but ice-cold lead guitar line.

I almost gave this release a miss because of the uninspiring artwork that adorns this self-titled debut EP. Thankfully, I did end up investigating it, because if I hadn’t, I’d have been much the poorer for it. Kryptan create quality black metal that sounds vital and interesting, whilst also harkening shamelessly back to a previous time, a time when Scandinavia was utterly peerless when it came to extreme metal, particularly of the black metal variety. If you haven’t already, check this out and join me in impatiently waiting for a full-length debut.

The Score of Much Metal: 88%

Dessiderium – Aria

Cynic – Ascension Codes

NorthTale – Eternal Flame

Obscura – A Valediction

Nightland – The Great Nothing

MØL – Diorama

Be’lakor – Coherence

Hollow – Tower

Doedsvangr – Serpents Ov Old

Athemon – Athemon

Eclipse – Wired

Swallow The Sun – Moonflowers

Dream Theater – A View From The Top Of The World

Nestor – Kids In A Ghost Town

Beast In Black – Dark Connection

Thulcandra – A Dying Wish

Omnium Gatherum – Origin

Insomnium – Argent Moon EP

Kryptan – Kryptan EP

Archspire – Bleed The Future

Awake By Design – Unfaded EP

Cradle Of Filth – Existence Is Futile

Seven Spires – Gods Of Debauchery

Sleep Token – This Place Will Become Your Tomb

Necrofier – Prophecies Of Eternal Darkness

Ex Deo – The Thirteen Years Of Nero

Carcass – Torn Arteries

Aeon Zen – Transversal

Enslaved – Caravans To The Outer Worlds

A Dying Planet – When The Skies Are Grey

Leprous – Aphelion

Night Crowned – Hädanfärd

Brainstorm – Wall Of Skulls

At The Gates – The Nightmare Of Being

Rivers Of Nihil – The Work

Fractal Universe – The Impassable Horizon

Darkthrone – Eternal Hails

Thy Catafalque – Vadak

Terra Odium – Ne Plus Ultra

Hiraes – Solitary

Eye Of Purgatory – The Lighthouse

Crowne – Kings In The North

Desaster – Churches Without Saints

Helloween – Helloween

Fear Factory – Aggression Continuum

Wooden Veins – In Finitude

Plaguestorm – Purifying Fire

Drift Into Black – Patterns Of Light

Alluvial – Sarcoma

White Moth Black Butterfly – The Cost Of Dreaming – Album Review

Silver Lake by Esa Holopainen

Bloodbound – Creatures From The Dark Realm

Nahaya – Vital Alchemy

Frost* – Day And Age

Obsolete Theory – Downfall

Vola – Witness

Acolyte – Entropy

Dordeduh – Har

Subterranean Masquerade – Mountain Fever

Seth – La Morsure Du Christ

The Circle – Metamorphosis

Nordjevel – Fenriir

Vreid – Wild North West

Temtris – Ritual Warfare

Astrakhan – A Slow Ride Towards Death

Akiavel – Vae Victis

Gojira – Fortitude

Hideous Divinity – LV-426

Benthos – II

Evile – Hell Unleashed

Ninkharsag – The Dread March Of Solemn Gods

Bodom After Midnight – Paint The Sky With Blood

Morrigu – In Turbulence

Mother Of All – Age Of The Solipsist

Throne – Pestilent Dawn

Sweet Oblivion (Geoff Tate) – Relentless

Exanimis – Marionnettiste

Dvne – Etemen Ænka

Cannibal Corpse – Violence Unimagined

Arion – Vultures Die Alone

Maestitium – Tale Of The Endless

Wode – Burn In Many Mirrors

Everdawn – Cleopatra

Unflesh – Inhumation

Mourning Dawn – Dead End Euphoria

Wheel – Resident Human

Wythersake – Antiquity

Odd Dimension – The Blue Dawn

Metalite – A Virtual World

Cryptosis – Bionic Swarm

Ghosts Of Atlantis – 3.6.2.4

Memoriam – To The End

Aversed – Impermanent

Secret Sphere – Lifeblood

Enforced – Kill Grid

Liquid Tension Experiment – LTE3

Turbulence – Frontal

Iotunn – Access All Worlds

Warrior Path – The Mad King

Stortregn – Impermanence

Mariana’s Rest – Fata Morgana

Orden Ogan – Final Days

Witherfall – Curse Of Autumn

Plague Weaver – Ascendant Blasphemy

Ephemerald – Between The Glimpses Of Hope

Paranorm – Empyrean

Einherjer – North Star

Epica – Omega

Humanity’s Last Breath – Välde

Simulacrum – Genesis

Forhist – Forhist

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

You can also check out my other reviews from previous years right here:

2019 reviews
2018 reviews
2017 reviews
2016 reviews
2015 reviews

Forhist – Forhist – Album Review

Artist: Forhist

Album Title: Forhist

Label: Debemur Morti Productions

Date of Release: 26 February 2021

Another day in 2021, another self-titled album to bring you. This time, it is the turn of Forhist to find itself front and centre of my gaze. I generally find that there are two reasons for an album being self-titled; it is either a debut, or it’s an album of which the band are particularly proud. In the case of Forhist, it is the former, although that’s not to say that the musicians are not very proud of their endeavours. It’s unlikely we’ll ever know for sure. Why?

Shrouded in mystery, pretty much the only thing we are told about Forhist is that it is a new creation by the enigmatic Vindsval, he of Blut Aus Nord fame. We also know that the music on this record is heavily inspired by the kind of black metal that emanated from Norway in the 90s. However, we know nothing about whether he worked alone on this album; it’s a safe bet, but we don’t know. And neither can we ask him, because he’s not available for interviews according to the underlined missive in the press release. Even the songs don’t have names – the eight tracks are simply referred to as ‘I’-‘VIII’.

It might be frustrating for the reviewer, but this deliberate mystery works well otherwise. It adds a layer of intrigue to the project that’s entirely in keeping with the music that Vindsval has created. For indeed, listening to ‘Forhist’ is like taking a step back in time, to a period where black metal was beginning to diverge. It was either becoming more and more theatrical, over-the-top or experimental, or was sticking rigidly to its guns, relying on somewhat impenetrable, raw barrages of sound, created by fast-picked, cold riffs, relentless drumming, oodles of murky atmosphere and the shrieks of a tormented vocalist. Forhist most definitely sits in the camp of the latter. And I rather like it.

Yes it’s raw, yes it’s cold, but the music feels really organic; it lives, it breathes, and it actually feels honest and authentic. This album has no grandiose designs or ulterior motives. It comes across as merely the chosen vehicle for Vindsval to scratch an itch, and plough a furrow that interests him in the here and now, and not clouded by his work with Blut Aus Nord.

For all of it’s claustrophobic, unforgiving visage, what soon comes through is a surprising use of melody, which brings with it a certain unexpected warmth. I’m not talking Maiden-esque hooks, but the riffs do display a subtle layer of understated melody, the kind that starts to become more evident as time goes on. Or, in my case, when I switch to headphones to listen. It provides a certain charm that perhaps I wasn’t expecting to hear at the outset.

Speaking of charm, the organic nature of the music that I previously mentioned, is enhanced by the sounds of nature that appear at the beginning and the end of some songs, as well as sparingly-used acoustic sections. Take ‘I’ for a good example, that doesn’t fully kick in for a good 30 seconds, as it opens with the delicate sounds of birds singing in the trees. When it does, it hits the listener with a barrage of scything riffs, intense drumming, and nasty, incomprehensible vocals. Then there’s ‘VII’, which ends soothingly, via the sounds of waves lapping upon the shore. Mind you, the album cover, complete with the image of a curled-up fox should have been an early indicator as to the record’s direction of travel.

Elsewhere, ‘IV’ breaks off mid-song, to engage in a quiet, minimalist acoustic section, overlaying the sounds of heavy rain. ‘II’ starts off at lightning speed, all aggression and caustic attack before being reined in to deliver a more mid-paced tempo, allowing some lead guitar embellishments, choral vocals, and classic synth sounds to dominate at points. Complete with the rather cliched sound of thunder at the close, this has to be my personal favourite composition on ‘Forhist’.

On the subject of the vocals, what is also interesting to me, is the way that they are almost inaudible at times. The gruff shrieks are buried so far into the mix, that you almost have to listen out for them; they’re very much used as another instrument, or layer within the music to help create the murky, unsettling atmosphere that is present for much of the record.

Your appreciation for Forhist will very much depend on your views of raw, organic 90s-inspired black metal. If it isn’t your thing, then ‘Forhist’ will not be for you either. However, if you’re looking for a dose of extreme metal nostalgia from the cold, dark forests of Norway, then you could do an awful lot worse that check out Vindsval’s latest creation. On the whole, I prefer Blut Aus Nord, but I also recognise and enjoy the charms of Forhist, for there are plenty if you listen hard enough.

The Score of Much Metal: 82%

Further reviews from 2021:

Evergrey – Escape Of The Phoenix

Empyrium – Über den Sternen

Moonspell – Hermitage

Infernalizer – The Ugly Truth

Temperance – Melodies Of Green And Blue EP

Malice Divine – Malice Divine

Revulsion – Revulsion

Demon King – The Final Tyranny EP

Dragony – Viribus Unitis

Soen – Imperial

Angelus Apatrida – Angelus Apatrida

Oceana – The Pattern

Therion – Leviathan

Tribulation – Where The Gloom Becomes Sound

Asphyx – Necroceros

W.E.T. – Retransmission

Labyrinth – Welcome To The Absurd Circus

TDW – The Days The Clock Stopped

Need – Norchestrion: A Song For The End

You can also check out my other reviews from previous years right here: