Black Metal History Month- Into the Dark Castle -Dimmu Borgir's "Death Cult Armageddon"

 The band's 6th album actually hit the Billboard charts, which opened doors for the genre. Much to the chagrin of cvltists. This pushed black metal into more mainstream audiences and grew beyond the confines of the genre, earning disdain from purists, but here we are. I like the fact that there are industrial sounds creeping into things right from the opening track. The line-up from the previous returns, and there is a more tangible chemistry that plays into how everything flows so well, though Shagrath has a heavier hand in the songwriting. His vocals, being more articulated than those of your average black metal band, also aided them. 

Listening back to this album now yopu can hear how the melodic nature of ICS Vortex's bass playing is also a key factor. Despite Shagrath being a more consistent songwriter this time around, it is Mustis, who penned the biggest song on this album, "Progenies of the Great Apocalypse," that is driven by a catchy gallop. For black metal, it is one of the best vocal production mixes ever. Much of the criticism exists regarding the increased use of symphonic elements, which is misguided, as they are used in a manner that makes things catchier. "Lepers Among Us" is one of my favorite songs from the album, thanks to the hooky guitar groove. This offsets the blast beat to come. They prove you don't have to throw out the blast beats, just don't rely on them. 

There are a couple of songs like "Vredesbyrd' that check off the sonic boxes but do not grab me as strongly as other songs. "For the World to Dictate Our Death" has more purpose than the previous song, with the vocal carrying greater intent. "Blood Hunger Doctrine" collects creepy sounds and uses them wisely. While not offering symphonic grandiosity, 'Catacylsm Children" is one of the album's more dynamic songs. Thought the orchestra fires back up for "Eradication Instincts Defined". It is a song best played loudly that throws a great deal at your ears in the long and winding arrangement. 

Epic is a word that gets tossed around a great deal with metal, but the last couple of songs capture a cinematic quality that is deserving of that description. They even refine what they are doing here in a tighter manner on their next album,  but what happens here is stunning enough and impressive for a black metal band to achieve that. This album deserves a 10. 

Black Metal History Month - Melechesh : "Sentinels Of Shamash"

 

It's been over ten years since their last album. Now we are getting a three-song EP, which is something. They pick up where they left off with the rapid-fire thrash-influenced riffing that still puts hooks at the forefront, balanced out with aggression. The hateful sneer of the vocals is the most black metal part of their sound, though at times they remind me of Children of Bodom. Thankfully, there is less wanking than that band. In fact, musical excess is not indulged in here in any flavor. 

"In Shadows In Light" finds a more rock n roll element possessing the heart of the song, as the vocal lashes out again, it's almost more like a feral version of Accept. The vocals have purpose and are not just a cathartic outpouring of hate as the screams are articulated in a manner that the lyrics can be deciphered. Lower sung vocals also surface in this song and offer a dynamic respite from jsut being screamed at. 

If these guys came out in the 80s, they would have been a speed metal band, as that is the sonic weapon they hit you with on "Raptors of Anzu," the third and final song on this ep. Lyrically, it seems this is where the concept of this album really comes together. It is hard to sell the idea of a concept album when it's a three song ep, but maybe this is what was needed to get the band back in motion. I will give this an 8.5, it's good to have this project back on the scene, and hopeful to hear more from them, this will give their fans the taste they have been waiting for. 

Karnivool : "In Verses"

Austrailia's Karnivool have been around for almost 30 years, but this is their fourth album, meaning they are very calculated and meticulous when writing and producing music. Which can be heard on this album. They are not prog in the sense that there is a ton of guitar solos, but subtly shifting arrangements with djent like times changes bubbling up under anthemic rock songs that are also very moody and melodic. The second song has a little more groove. They are obviously influenced by Tool to some extent, and thankfully not trying to be Dream Theater. 

The nuanced tenor of their vocalist is supple and slides gracefully up into its higher register on the chorus. The guitars carry enough punch to appeal to metal fans, but I would not call these guys a metal band unless something takes a dramatic shift midway into the album. They seem less metal-adjacent than Porcupine Tree, who had the Opeth connection to draw on. There are some formulas in place when it comes to their songwriting, but it works well, so I won't complain about them. "Animation" is the catchiest song thus far, which says alot as they write in a very hooky fashion for a prog band. "Conversations " blends pop vocals with what A Perfect Circle does in an effective manner.

"Reanimation" feels like the aftermath of " Animation", more nuanced with room to show off the singer's voice to a greater extent.  There is a grittier groove that drives "All it Takes". In many ways, these guys also remind me of Pain of Salvation. But on a song like "Remote Self Control," you can hear the Rush influence. Lyrically, there seems to be a similar theme of self-control, mental health, and perhaps a struggle with addiction that is revisited on the ballad "Opal." The last song finds the bass line getting it moving. These guys are making this kind of prog mental relevant in a thoughtful manner that doesn't rely on shred. I will round it up to a 10.

pst66

Black Metal History Month - MISERERE LUMINIS : "Sidera"

This Canadian band proves you do not have to jsut be an intense blast of blasting to be black metal. They flirt with the shoe-gazing zip-codes that their genre finds itself being built against without conforming to any of the tropes. The vocals are anguished to the point of placing them closer to depressive black metal, while the atmosphere created is organic and kind of jams along. The second song unloads a cavernous chaos in a less structured fashion until the breakdown comes and adds melody three minutes into this 11-minute song. Maybe this is where the song should have opened to begin with.

"Aux bras..." drops everything down to a haunting piano line. Their vocalist makes it clear that he has no intentions of cheering up and is going to bathe in anguish; this time, he does it over a more cinematic post-rock sound. The range of dynamics is a cathartic explosion for the mental breakdown that is being heard on a level that might remind you of Sweden's Shining, before they added cock rock to their depressive cocktail. The 14-minute "À la douleur..." is more deliberate when it comes out of the gates with its grim heaviness. There is a great deal of effective dynamic ebb and flow to the song. A compelling song, not a catchy one. They do release a more metallic aggression here, which some might be a fan of. 

The last thing finds things changing, namely the vocals coming out of the swirl of sound as a low, death metal-like growl. It's more of an echoing bellow than the type of punchy accents most bands of this kind use. It is interesting how such a shift of vocals can change the tone. As a song, it becomes more of a raging swathe of sound. I will give this a 9, as it sounds great and takes things in a new and original manner while being true to the genre or at least one corner of it.Out Marach 6th on Debemur Morti Productions.  

pst65

Charli XCX : "Wuthering Heights"

Not a typical Charli XCX album, as she is making a soundtrack for the movie 'Wurthering Heights". It is more experimental than you might expect from John Cale on the first song, which was also a lead single from the album. It feels more like an intro than a song, so for the purpose of this review, I am using "Wall of Sound" as the first song. It's more atmospheric for sure, and the club classics don't kick in until "Dyning For You." String sounds are coloring the sounds to stick with the tone of the movie. 

"Always Everywhere" is a light ballad that just floats off without the benefits of experimentation and dynamics like 'Chains of Love" which pits 80s sounds against a modern approach to pop. You are also reminded that she can actually sing. "Out of Myself" sounds the most like what we are used to from her. 

"Seeing Things" is more likea quirky ballad that gives a different slant to what we have heard from her before. "Altars" is another ballad that has a dramatic build. Some of the vocal colors she employs here have more of a rock edge to them. Sky Ferreira joins her for "Eyes of the World". Her lower indie rock indifference provides a fitting contrast. "My Reminder" has an urgency that recalls the more new wave-minded pop of the 80s. The last song is "Funny Mouth," which is almost like an ambient Björk-style ballad. I will give this a 9.5 for taking chances and being what it is. Her voice sounds great, so that is a bonus. 

pst64

Hoaxed : "Death Knocks"

 

This album makes no attempt at draping things in goth window dressing, and we get to see who Hoaxed are: a grunge band. The riffs are more arena-rocking, even when they add tension to a song like "Kill Switch", which at times finds them beginning to drift toward the more straight-up rock n' roll side of grunge. Sonically, they hold a great deal of common ground with the Pretty Reckless, though with more of a penchant for minor ket melodies. At times it casts a somewhat witchy shadow n things when it comes to "Promised to Me ", but this album is nowhere near as dark as the previous one. 

I like how they vocal are produced as they have the right amount of effects on them and are not too forward in the mix. There is more melancholy; this is best heard on "The Fallen." They go into a more streamlined commercial approach with "Dead Ringer."  If this were the 90s, you might argue that the upbeat "Wretched" was also more radio-friendly. Though it does build into a heavier stomp. There are screamed vocals throughout the album that find themselves echoing out from the edge of the mix, which I am just mentioning here as an attempt to be more metal.

 They occupy a similar sonic space as Freeze the Fall when we get deeper into the album, and melodies become a little more ethereal against the hard rock punches. The vocals to the last are a little hookier and work for me. I will go ahead and give this album a 9.5, as they feel more in touch with who they are as a band, which sells me more on the songs. The hookier moments on this album are pretty awesome; it might take some time to grow on me, but fans of anthemic brooding rock from the 90s will dig this. 

pst63

Rob Zombie : "The Great Satan"

 It has taken me a decade to resign myself to the fact their is little difference between where Rob left off with White Zombie and his solo work, which is almost as good. It seems he is eager to recapture his more classic sound, as this album opens with a heavier edge. "Tarantula' blends the two with a more aggressive guitar sound, grooves keeping this industrial thump moving even in the face of Rob's more rock n roll vocal stylings. He has never been a great singer, relying on effects and a keen sense of where to put the clever lyrics he spits out. 

"Rock n Roller' almost feels more like My Life With the Thrill Kill Kult. His declaration of being both an alligator and a space invader makes it sound like he is from Florida. "Heathen Days ' is heavier and more driving, making him sound just as vital in 2026. 'Black Rat Coffin" sounds like it came out after "Astro-creep", which is what you want from him. The groove to "Sir Lord Acid Wolfman" is cool, but no clue what the lyrics are about. "Punks and Demons" hits like 90s Ministry, "The Devilman" is very deliberate as an arena-shaking anthem. 

"Revolution Motherfuckers" rides a rumbling bass line with a rowdy march. "Unclean Animals" demonstrates what I said earlier about the effects on his voice being almost an instrument unto themselves, which really helps set the mood here and makes any vocal limitations forgivable. "Grave Discontent" closes the album, which is more of an instrumental outro. Overall, this album is fucking fantastic, and shows that just because you came out in the 90s it does not mean you have to forsake your sound when you can just perfect itI give it a 10.. 

  

pst62