Very few metal albums have been hyped as much as Fallujah’s second full length album ‘The Flesh Prevails’ has. Though their first album put them on the map as one of better deathcore bands, blending technical death metal and progressive metal elements together, it was their Nomadic EP in 2013 that really made this a band to watch out for: ambient, heavy, and progressive all at once, the EP significantly raised people’s expectations for his band, though its short tracklist left us wanting more. So the question is: Does The Flesh Prevails live up to that hype?
In one word: yes. It absolutely does. On The Flesh Prevails, Fallujah take that deeply atmospheric and progressive death metal sound they began to really explore on Nomadic and really make it their own. There’s an even greater sense of atmosphere, but where Nomadic was dark and murky, The Flesh Prevails is ethereal and even upbeat. Of course, this is ultimately death metal so when I say upbeat take it in that context! There’s a great sense of contrast created between the ambiance and atmosphere created by the guitars and other instruments and the vocals; low, guttural, death metal roars keep The Flesh Prevails from floating away completely and keep it grounded.
Rivers of Nihil’s debut album ‘The Conscious Seed of Light’ was actually released on Metal Blade back in October 2013. That means I’m pretty late with reviewing this album, but this album has impressed me so much that I feel I need to share it with you. If The Faceless and Fit for an Autopsy had a baby, this band would be it. Rivers of Nihil take a technical approach to death metal that is thoroughly brutal while also trying their hand at a bit of melody and ambiance, largely created by the two guitarists, as well as a nice sprinkling of black metal. I’ll be brief so you can just go and listen to the album straight away.
The twin guitars are at times pummeling, in the opening track ‘Rain Eater’ acting as an auditory jackhammer, drilling away at your eardrums with absolute ferocity, while at others such as on ‘Mechanical Trees’ where they play with the contrast between a down-tuned background chugging and ambient post-rock moments. The riffs come thick and fast, with the only problem being that there are so many riffs that I’m not sure which one I like the most! The drums compliment the guitars as an equally varied instrument, moving with ease between mid-tempo rhythms, to blastbeats, and other complicated, fast-paced arrangements. The vocals have a slightly deathcore edge to them but remain varied, with deep gutturals and powerful mids, while on some parts of ‘Place of Serpents’ they’re more hardcore. The vocals may be the only point on which Rivers of Nihil may divide opinion, as they’re not your usual death metal gutturals.
Both Falls of Rauros and Panopticon are United States black metal-ish
bands who have collaborated for this powerful 12" split release.
Panopticon (actually a solo project) is openly anarchistic in the real
sense of the term, opposing both the state and capitalism. While I’m not
quite so certain about Falls of Rauros, looking at the lyrics they seem to share a common distaste/bitterness for modern consumerist,
capitalist society and they both seem to express a preference for the
natural world over an ultimately coercive and destructive human one.
These political and environmental views certainly seems to fuel the
sound of the music they create. The two artists apparently spent some
time together in Norway, and such an environment that has inspired so
many Norwegian black metal bands like Burzum and Gorgoroth to create
such dark, atmospheric, and compelling music, has clearly had an effect
Falls of Rauros’ side:
The Purity of Isolation’ (06:45)
This is actually the first new material from Falls of Rauros since their
last full-length album in 2011, so in a sense there’s some pressure on
them to not let people down, and they certainly don’t. ‘Unavailing’ is a
wonderful exposition in atmospheric black metal, featuring numerous
beautiful, sorrowful guitar melodies soaring amongst the tasteful and
measured drumming, and a deep, earthy bass contribution to help ground
the guitars and keep them from sounding too airy. About 2 minutes
in there’s an astonishing but short guitar solo which is picked up
again later in the track which really does provoke an emotional reaction
to the music.
The second track ‘The Purity of Isolation’ begins as a
pretty big departure from the previous track, instead focusing on an
acoustic guitar and soft, chanted vocals, before introducing a few more
electrified melodies and black metal screams instead of singing, but
never leaving the folky acoustic base of the song. There is something so
utterly compelling about the mournfulness that permeates every moment
of both these tracks that one cannot help but be moved by it. One senses
at the same time a deep love for the natural world and life itself, but
also despair at the tragedy that has befallen nature at our hands.
“I can not find any beauty
in our sightless ambitions
I am through with forgiveness
for our unseeing
I will not feel any sorrow
by the crumbling of towers
raised from the earth in arrogance
Cleaving the welkin
Piercing the heavens”
Falls of Rauros – Unavailing
Even before I read the lyrics this was something I had a real sense of,
drawing from what little knowledge of the political backgrounds of these
two artists that I had, from the album cover, the track titles, and the
kinds of feelings they were eliciting from me, but if you do read the
lyrics (you can do so here)
I would argue their sound and their message work in tandem,
complementing each other and expressing more viscerally the concepts
they wanted to communicate. At times reminding me of Alcest’s second
album ‘Écailles de lune’ FoR’s side of the split impressed me greatly
and as soon as I publish this review I’m off to go have a listen to more
of their music.
‘Through Mountains I Wander This Evening’ (4:33)
‘Can You Loan Me a Raven?’ (7:29)
‘Gods of Flame’ (4:26)
‘One Cold Night’ (7:56)
Panopticon’s side of the split is a much more straightforward affair
though on a similar level of quality. Sole band member A. Lunn was
clearly a lot more influneced by traditional Norwegian black metal than
his FoR counterparts. Opening track ‘Through Mountains I Wander This
Evening’ has a pretty traditional verse-chorus song structure and I really enjoy the ‘chorus’ part of this song. The band take a moment away from
the blastbeats and noise to focus on an Agalloch-ian tremolo-picked
guitar chord and settle into a more rhythmic drum pattern before leaping
straight back into the fray. ‘Can You Loan Me a Raven?’ is a much more
experimental piece of music. Though still remaining strictly within the
boundaries of black metal, it seems to explore the effects that an
almost hypnotic sense of repetition can achieve, in a very Svartidaudi/Wormlust-ian way, with a slow, droning pace, audible and
enjoyable bass, massive sections of noise, static and guitar feedback
before the drums kick back in and these wonderfully dark guitar notes
are introduced that are ingenious in their simplicity and the sort of
dark atmosphere they help further intensify.
Gods of Flame is more closely aligned with the opening track opting for a
more straightforward Norwegian black metal sound with all the
essentials you might expect with layers of atmosphere and a great raw
sound, as well as a really evil passage just before 3 minutes in. The
final track ‘One Cold Night’ is the one that made the greatest
impression on me, however. The song starts slow and the opening guitar
riff is utterly dark and entrancing, probably my favourite on the entire
split. The introduction of the muffled black metal snarls muffled in
the distance with the introduction of quiet but reverb-heavy guitars
layered on top of the whole thing heavily reminds me of the sort
of thing Burzum might have written for, say, Dunkelheit. Moments of
frenzy with blastbeats and hectic riffs, complimented by identical bass,
break up the slow pace of much of the song before slowly returning to
the depths, only to be summoned forth once more to tear off what is left
of your face by the end of this split.
This is definitely among the best splits I have had the pleasure of
listening to. Falls of Rauros present a compelling and emotionally
resonant atmospheric and melancholic take on black metal while
Panopticon opt for an equally atmospheric take but with greater emphasis
on rawness and influence from such Norwegian greats as Gorgoroth and
Burzum. The album artwork (high-res version here)
is also fantastic in my opinion, perfectly epitomising the kind of
scenery brought to mind by these two talented bands. Highly recommended
if you’re at all a fan of black metal.
Hour of Penance are a technical death metal band from Italy that have been around for about 15 years now, forming back in 1999. For a decade and a half this band has been refining and perfecting its brand of death metal largely in the shadows, being better associated with consistency and iteration rather than dramatic changes in sound. After Fleshgod Apocalypse’s album ‘The Agony’ they gained a wave of fans who rejected that new, symphonic sound, and wanted more of what they got on Oracles, which HoP deliver in spades. On their sixth full-length album, Hour of Penance continue down the path of technical death metal but seem to move more in the direction of Behemoth or Immolation’s brand of blistering brutality.
Part of the success of Hour of Penance is a result of their ability to pile catchy riff upon catchy riff into a single song while sacrificing neither the overall structure of the song nor the overall ‘heavy’ factor that might be somewhat weakened the more melody you introduce. The riffs are technical and very tightly performed, and the benefit of having both a rhythm guitarist (/vocalist) and a lead guitarist is made clear on this album. Addictive riffs almost blend in with the powerful lead guitar, often blending with the riffs before taking off in its own direction, throwing in an astonishing solo before pummeling you over the head with some other crushing riff.
In the last few months I’ve been fascinated by the Icelandic metal scene. Musically it seems to take what Norway and Sweden are doing with death and black metal but somehow make it even darker and, in many cases, stranger. A good example of this would be Wormlust who take atmospheric black metal and infuse it with psychedelic craziness. Naðra take a slightly more conventional approach to black metal but emphasise a sense of technicality and speed. Eitur is their first release, and was released on April 1 of this year digitally and on a limited number of tapes. There are two songs on this EP, the first of which (‘Fjallið’) is four minutes but the second (‘Falið’) is 13 minutes long, so there’s actually a good 18 minutes of music on this demo tape. Continue reading “Review: Naðra – “Eitur””
I was not prepared for Death. I was tipped off about this album from a bunch of people over on last.fm and after I worked up the courage I eventually gave in and decided I would have a listen. From a quick look at their last.fm profile, at their picture and at the most common tags (three of them being “black metal”, “death metal”, and “war metal”) I went into Death with the idea that ‘okay, this is probably going to be pretty heavy.’
I was not prepared how heavy Death was going to be.
Death is the sound of a thousand corpses being crushed into the ground by some huge machine, their souls screaming out in agony, and all about the sound of war and noise. All of which, it goes without saying, takes place within an impenetrable vortex of torment and suffering. This is not an album of subtleties or complexity: it does one thing and it does it really fucking well. There is absolutely no intention of fundamentally revisiting what death metal should or could sound like. Instead, they see how far they can push it in terms of extremity.
Death is almost certainly the most relentlessly extreme and terrifying album you will hear all year. I certainly can’t remember a heavier one. The drums, performed by “J”, are like a machine gun, relentlessly smashing away with such ferocity and precision that it becomes a force of its own. “NSK” is responsible for the guitar, bass, and vocals and he is really at the top of his game here. The vocals aren’t really black metal so much as a range of howls and roars ranging from shrieks to bellows to guttural growls; whatever works in the moment.
The guitars are tuned low. Really low. The mix also results in a huge amount of distortion, and seems to blend the guitars, bass, and drums into a single cacophony of fury slightly below the vocals, while also providing a kind of ‘cavernous’ sound to the record, with some echo/reverb on the vocals and drums. Among the muddied, thundering guitarwork you also have occasionally flairs of dizzying, powerful, and electrifying guitarwork. Electrifying is a good word here, I think, because in the context of the music it almost sounds like a crash of thunder and lightning above the battlefield. There are some seriously headbangable riffs throughout this album, but the two that stand out for me appear towards the ends of ‘Sleeping Throats of the Antichrist’ and ‘Burning in Damnation Fires.’
That said, at times Death is so single-minded in its approach that it can become tiring, particularly when the album clocks in at a pretty massive 70 minutes. When you listen to Death it really does demand your undivided attention, but on the other hand Death lacks the variety and dynamics to make that sustainable over such a long period. By the end it does all stand to blend together a bit, which wouldn’t be a problem if it didn’t demand so much time to finish in the first place. You may instead have greater success listening to the first half, taking a break, and then coming back to the maelstrom in a bit. And, in general, I certainly enjoy listening to this album. I love putting it on my record player, turning the volume up, and getting lost in it until the end of the first of the two records, before I go and do something else for a bit, and come back to finish it. But after that experience is over, I can never remember exactly which track I enjoyed the most, as they all sounded so similar. There are only a few moments I can point to that were real highlights.
Death almost requires a mindset change to appreciate it. I know it did for me and for others I’ve talked to online. Fundamentally, you have to know what you want out of this album before you go into it. If you go into this album expecting some avant-garde piece of art metaphorically exploring the metaphysical consequences of the human condition… you’re going to be disappointed. If you want unbelievably powerful, cacophonous metal, representing the most brutal and dark recesses of extreme metal, extreme music taken to its most extreme, then you’ve come to the right place, and what a place it is.
Sometimes you click play on an album
without knowing quite what to expect and find yourself blown away by
what you find, and this is one of such occasions. Liber Necris’ EP Negative Creator
is one of the most ferociously heavy records I have ever had the
borderline-masochistic pleasure of listening to. Drawing together
influences from death metal, black metal, thrash, hardcore, and crust,
Liber Necris throw them all into the cauldron and what comes out is
nothing short of an auditory assault on the senses.
Liber Necris formed in Leeds, England in 2010. They released their debut EP The Immutable Aversion back in 2011 and Negative Creator is
their first release since, recorded by Rob Hobson at Silent City. I
cannot knock the production at all: it perfectly captures the visceral
sound of their music, while also adding a lot of atmosphere to the
music, such as the howls in the background towards the end of opening
track ‘In the Beginning (First Light)’ and the screams off in the
distance on closing track ‘The Eulogy for Our Earth.’
The music itself is brutal. If you were to ask me for another band as a sort of reference point for what to expect from this album, I would probably say Plague Widow,
who blend similar influences to a quite different result. The vocals
are varied, shifting between a high pitch black metal shriek (with a
considerable amount of power behind it too, it must be said) and a more
guttural death metal growl. The guitars likewise display their influence
from both black and death metal, with tremolo picked passages, powerful
riffs, and even some passages that border on breakdowns – of the good
kind, you can be assured. The drumming is seriously intense stuff, with blastbeats to accentuate the heaviest and fastest moments, and a lot of variety through the tracks.
Closing track ‘The Eulogy of the Earth’ is one of the most interesting
of the tracks here to me on the basis that it deviates so strongly from
the formula established on the previous three. The guitar leads are much
more melodic with a more atmospheric introduction before the blast
beats and black metal screams kick in (somewhat reminding me of early
Watain), though the middle section of this song settles into a strong
formula of vicious, intricate riffs and powerful drumming, while
alternating between howls and growls. The section just over 2 minutes in
reminds me of some of the more recent post-black metal music movement,
and then the band lays on some atmospherics in the background to
complement the tortured guttural vocals. The final minute of the track
moves from haunting and hypnotic to a powerful declaration of intent,
ending this record as forcefully as they began it.
Invidious are a Swedish death/black
metal band from Uppsala, Sweden, a city also home to Watain and In
Solitude. What first drew me to this band was the discovery that Pelle
Åhman, vocalist in heavy metal band In Solitude
(a personal favourite), was also the vocalist in a death metal band.
Having heard his fantastic clean vocals and spurred on by the few hints
of harsh vocals in In Solitude’s first two albums, I was curious to see
what Pelle had been getting up to in this side-project of his. Their
only release is this, their 2011 EP, ‘In Death.’
The first thing to make quite clear is that this is not In
Solitude. This is old-school Swedish death metal at its best. Chaotic,
heavy, low-fi and fuzzy, noisy, and heavy as hell. Each of the four
tracks on this EP are tight and focused assaults on the senses. Åhman’s
vocals are superb, at times sounding like Erik Danielsson of Watain but
with a more consistently extreme sound. One the one hand this means
less variety, but given the short length of the EP this isn’t a major
issue. The overall ‘sound’ of the band isn’t easily pinned down: on the
one hand comparisons could be made to Entombed, Degial, or Entrails. But comparisons could equally be made with early Watain, Valkyrja, or Dissection.
Opening track ‘Black Blood’
is a pretty strong start to the album. Blastbeats, nicely mixed bass, and some
frenzied, chaotic riff-work, with the harsh vocal acting as the icing on
the cake. This sort of description could easily be applied to the
following three tracks though; Dead Salvation Spawn, Throne of Death,
and Visions. But not all songs are created equal – some here are
evidently stronger than others. The chorus sections on the first two
tracks just don’t do it for me. The feeling of relentless chaos is lost
as they slow down for these choruses, often allowing single notes to
reverberate for seconds at a time and the drumming to slow down as Åhman delivers
what’s really quite a simple and bland chorus. The exact same can be
said for Dead Salvation Spawn: good until the chorus kicks in and then
just about bearable until they get back into their stride in the verse
The last two tracks on this EP are the strongest by some margin. In
‘Throne of Death’ the chorus is a big improvement, no longer forsaking
the energy of the rest of the song and finding itself much more at home
within the context of the rest of the song. That said it still suffers
from the problem of getting a little lazy with the guitarwork behind the
vocals, content to just let a few notes hang behind the vocals.
‘Visions’ is my personal favourite from the four tracks on this EP, with
some compelling bass-work, all four members deftly transitioning
between the different parts of this song.
Ultimately, this is a good EP held back by a lack of time and experience
in refining their ability to write compelling tracks. It is for this
reason that while I will continue to enjoy this EP, I hope
that Åhman comes back from In Solitude’s compelling new album ‘Sister’
with a renewed sense of focus and a strengthened songwriting ability, to
put these into action in Invidious. There’s a lot to like about this
EP: the song is chaotic, heavy, and conveys a sense of honesty about
their vision for this band. I still recommend you give this a listen if
you’re into old-school Swedish death metal and keep an eye out for them
in the future, because there’s lots of potential here.
If you’re at all familiar with the death metal scene then Behemoth really need no introduction. For the uninitiated, however, Behemoth are a Polish blackened death metal band that formed back in 1991. Their progression from their early pure black metal sound to their more recent sound which is primarily death metal with some black metal flourishings is an important one. As the band grew they developed their death metal influences further, with Demigod arguably being their most accomplished work up to this point. Their their previous album (2009’s Evangelion) was a very cold-sounding album, devoid of humanity or frailty, which I think is exactly the sort of merciless sound they were going for. The Satanist, however, presents an interesting change in direction for Behemoth. Not only have they brought back their black metal influence in a big way, this is in many ways the rawest, most emotional, and most human album Behemoth have ever produced.
In terms of the songs on the record, this is easily the most diverse, powerful array of tracks that Behemoth have ever recorded. Tracks like Furor Divinus, Ora Pro Nobis Lucifer, and Amen are blisteringly fast and heavy, with Ora Pro… being surprisingly catchy, and bringing to my mind their earlier album The Apostasy.Amen is one of the heaviest tracks they’ve ever written, period. The guitarwork from Nergal and drumming from Inferno is absolutely insane on this track. Messe Noire is more in the style of Deathspell Omega, with eerie, twisted guitar riffs and drumwork, and a truly fantastic guitar solo to close the track. The importance of his vocals in the sound of The Satanist cannot be overstated, because they’re such a huge part of what makes their sound work. At times a ferocious bellow, at others one can hear his vocals crack and break as the intensity and emotion of the song overcome him.
In my opinion, however, the final four tracks are the strongest on the album. ‘The Satanist’ is really Behemoth trying something outside of their comfort zone. There is a big emphasis on Orion’s basswork (which is absolutely phenomenal through every track on this album, by the way) and on melody at a slower pace. It has a very ‘rock n roll’ feel to it in place, and I found myself enamoured with it. Ben Sahar has a middle-eastern feel to it, and feels in places like a war-chant, in part driven by the unbelievable drumming, and by the end of the track the track explodes into an anthemic masterpiece of death metal. In the Absence ov Light has one of the biggest riffs on the entire album, bordering black, death, and thrash metal, with powerfuldrumwork pushing the song forwards at a relentless pace, until about a minute in the song lapses into a quiet interlude. A saxophone plays softly in the background while Nergal reads a quote by Witold Gombrowiczabout Satanism as an ideology. Out of nowhere, the incredible riff fromthe opening of the track explodes back into the track and the track picks up right where it left off.
However, it is the final track, O Father O Satan O Sun, that is the pinnacle of this album. After a minute of atmospheric, noisy ambiance and droning guitars, we’re fed an unbelievably delicious bassline by Orion before launching into the epic verse. As Nergal bellows the truly anthemic lyrics to this track, the addition of many backing vocals adds a truly epic feel to the song. About 2 minutes in we’re treated to a very bluesy, rock n roll guitar solo from Nergal that gives me goosebumps every time I hear it. The sense of atmosphere, of purpose, and of unbridled emotion and musicianship present in this track really epitomise everything that Behemoth stand for with this release. I think you can expect to see this album on plenty of 2014 end-of-year-lists.
Angist are a female-fronted old
school death metal band from Iceland! That line on its own should be
enough to intrigue you. Angist combine an insane level of brutality,
accentuated by strong dual guitar leads, very strong vocals from
vocalist Edda, and consistently strong drumming. It must also be said
that this is one of the few death metal releases I’ve listened to where
the bass has been so strong and mixed so well that sometimes I’ve
actually been able to listen along that instead of, say, the guitars, so
props to Haraldur for that.
It’s a really strong debut EP. If you’re looking for really brutal death
metal, with an interesting vocal twist, that actually has a keen sense
of melody throughout, look no further. There are some killer riffs, a
very atmospheric, dark sound, and five well-constructed tracks here. I
asked the band on Twitter and they’re heading into the studio next week
to record their first full-length, so now’s the perfect time to get
introduced to them!