Black Metal History Month - Unmother- "State Dependent Memory"

London's Unmother play a dark and unrelenting style of black metal that warms up into something catchier in its opening track, which the feral snarl they initially smack you with lets on to. The blast beats are offset by dissonance that paints a murky fog-coated landscape of dark alleys and the depression of urban life. The second song does not find s them stepping off the gas. The pattern of blast beats continues to force things ahead. 

The rasped croak of the vocal is not well articulated, making the lyrics a moot point. Some anguished punk cries break from this, and if you told me these guys were in a punk band before thi,s it would make sense to me. The darker, more melodic passages that this wanders in are sounds they need to expand upon. I like the more depressive howls the vocals descend into. Deeper into the song, a lower death metal growl emerges, which plays to their favor by adding more vocal colors. 

I appreciate the increased level of creepiness they slow into for "Modern Dystopia" and the purposeful build, which proves to be the most powerful moment so far, and helps sell me on these guys. The vocals shift to more of a Gollum-like muttering. Though when the chords crash down, and they take the precious, he is clearly upset and objects in kind. It builds into more of a seething storm of chaos, but this works as we have already been grounded in the song's purpose. Their cover of a Greek synthwavers  ΟΔΟΣ 55, is pretty typical black metal, and you would have never guessed it was a synthwave song to begin with.

The title track is moodier and finds the vocals in a lower croak before transitioning into the more commanding rasp that is typically the more dominant narrative for this album. This song is also driven by a more typical black metal buzz. Its drone is gradually layered with other sounds, making it a little more intersting than your average blast fest. The last track, "Magda," is more of a simmering outro; it feels like something Nachtmystium might have done. I enjoyed the dark vibes and sonic depth they offered here; it resonated as real with me, so I will give this album a 9.It drops Febuary 20th on Fiadh Productions.  

Black Metal History Month - Into the Dark Castle - Dimmu Borgir 's "For all tid"

In keeping with the tradition of reviewing the entire catalog of an influential band, I am going to review the entire catalog of one of my favorite black metal bands, the Norwegian legends Dimmu Borgir. This is a weird one for me since Silenoz is the vocalist and Shagrath is the drummer. I am listening to the 2000 re-release since it sounds better, but only reviewing the 9 songs that appeared on the original album. This album is certainly a reminder that they did not just become a symphonic band; it was always a major part of what they do. The first track is more of a dramatic intro, making "Under Korpens vinger". The marked difference is a more deliberate traditional metal pacing, as the choked croak of Silenoz feels more tortured and less commanding than Shagrath's approach to vocals. In some ways it brings early Samael to mind. 

It's funny how black metal purists who are apt to always claim the band's earliest work is the best, insist this is more cvlt, when their newer material is heavier and in some ways more black metal. There are already sung vocals on this album. It could be the charm of the lower production value, even in this remixed, remastered version. There are a few more blast beats on the second song, as the more traditonal sweeping gallop feel that follows the flow of tremolo-picked guitars. Even in their more primitive state, these guys are way better songwriters than most black metal bands, and this is a trait they continued to refine. 

"Stien" finds the keys playing a more folkish melody, while they begin to blast around it. This is a perfect picture of a band ahead of their time. I don't think this album could truly be appreciated by the audience who was not quite ready for them til ten years later. "Glittertind" finds the pace picking up thanks to Shagrath's drumming, which was on point. He might not be Hellhammer, but he is better than I remembered, as it's been years since I went back and listened to this one. The title track is darkly melodic with a very measured pace. The guitar tone is the only thing that is really lacking on this album; the bass is much more present in the mix, so that helps.  

"Hunnerkongens" has more of a punk feel, not the album's strongest song. The album really regains its footing on the last song by setting a creepier mood than I can recall hearing them step into; the guitar playing is more melodic than the more in-your-face epic riffing they would grow into, once again proving my earlier point. I'll give this album a 9.5, it's more important to black metal than you might imagine but proves points you are not expecting it to. 

6.7

Black Metal History Month - LÖMSK : " Act II - Of Iron and Blood"

 

Sweden's LÖMSK has a distinct sound that bridges an underlying crusty croak of the vocals to a tremolo-picked drone. While it sounds great, it also creates a throb that finds the first two songs bleeding together. This is a good example of where our average black metal band is going to get into problems with me. They have a sound, but it needs to be applied to arrangements that are songs worth returning to. Here, it is a blur that fades into the background. 

"Requiem of Fire" finds the vocals discovering more purpose than just trying to yell over the guitars and creates an accent that has an almost Behemoth like cadance. "Entropia" finds them slowing to let the riff ring out into a more atmospheric darkness. It works off this darker throb and accelerates into a tense storm of ringing guitars. It works better songwise, but still a pretty simple arrangement with little in terms of dynamics. 

"Chimaera" finds the vocals making some different choices in order to stand out against the razor-sharp blur of guitars dominating the song."Stare into the Void" finds the void staring back in a manner that sounds pretty much like what we have already heard from these guys, boring me a bit. The same can be said for "Furia" which just rides the buzz of the tremolo-picked guitars. The fact that this is the longest song at nine minutes makes it perhaps more tedious. Overall, the album sounds great, so fans of early second wave black metal who just want something to storm the gates to will appreciate, I just need a little more, so I am going to give it an 8. Out March 6th on ALL NOIR.

pst46

Shadowlands : "004"

 

Not sure how I have not reviewed Shadowlands before, since this is their fourth album, but here we are. The album opens with them threatening to take us down "Fascination Street" before the verse breaks things up into something more haunting and dark wave. They work with the required sounds of the genre without sounding like a stale tribute act. The choice of effects draping the atmosphere works in their favor to help solidify their identity. The Sabin sisters get props for not trying to be Siouxsie Sioux, another key element. 

The punchy bass line to "Clicks" helps give them a spine. "Let's Fall Apart" is a more urgent brand of post-punk that contrasts with "Nothing Has Changed," which is more of a ballad to show the band's dynamic range. It does build up with an impressive emotional and sonic heft. After some weird ambiance, "Wounds and Relics." They are making me believe that this is the band for people who miss Savages.

"R/AGE" finds the pulse of synths playing a larger role, while the reverbed-out guitar sits back in the mix. This too builds from a very pleasing dynamic swell that flows very organically almsot like "Wish" era Cure. "Substance" is marginally less brooding as the dive further into capturing even richer moods awash with darkly surreal ambiance. The album closes with "The Worst Light," which is the first song that feels like they were trying to intentionally capture 80s sounds. It floats on more of a dreamscape rather than getting in your face. 

pst45

Black Metal History Month- VIDE : "Aux enfantes des ruines"

 

The French have been consistent when it comes to black metal. They also have a rich history in the occult, with actual sects of devil worshippers flourishing in the 17th Century. More melodic than I expected going in, it bridges the intro to the first proper song and takes its time getting to the metal. Almost two minutes before the guitar turns up and the harsh vocals bring their scowl. At 11 minutes, I understand setting the stage, but some fat could be trimmed. I appreciate the nuance that is allow breathing room as things build up.

 I also like the creepy melodies running through this that bring the choir of ghostly children bakc like something from a horror movie.  The vocals shift to more of a shouted declaration by the end of the song.  What is impressive is how they have no real desire to just hit you with a bunch of blast beats and are more interested in maintaining the mood, which is very effective as it sets them apart, and when the blast beats do come have more purpose because they have already been balanced by a dynamic contrast.

 There are several interlude-like pieces bridging the songs with church bells and choirs.  They keep it creepy for "Le refuge," but it is not hooky either. To their credit, it is atmospheric black metal that is not trying to be shoegaze. The last song does not stray from this, so while there is a uniform feel to this album, it does have enough ebb and flow to work, so I will give this one a 9. It drops February 27th on Antiq.

2.9

pst44

Black Metal History Month - Phasma : "Purgatory"

 

Greek bangers Phasma offer a very in-your-face brand of aggression as they meld black metal with death metal. They find some grooves along the way, so it is not just relentless pummelling. The vocals range from low gurgles to hiher pitched screams of agony. The songs are held together by Dead Congregation drummer Bill Nanos. The second song has a little more dissonance and melody in equal measure. It is very effective when they let the chords ring out, creating an eerie mood. Though most of the song goes harder with an almost grindcore-like chaos in its unbridled intensity. 

They slow things down on the third song and allow room for atmosphere before blasting back at you even faster, though the guitar is played with thrashing technical skill rather than jsut being a blur. It makes me think of Decapitated in this regard. The fourth song is more of a feral blur than the previous song. I can hear where this album would also appeal to fans of deathcore, who are not invested in having to have breakdowns.,

The fifth song blasts by in the bakcground without really demanding my attention, though the last song is much more memorable as it carries more purpose and the riffs have some hook to them. In terms of dynamics, the album is heavy to heavy, but when they do stop and give things room to breathe, it plays in their favor. I will give this album an 8.5, it is intense and well done but needs to let its foot up off the gas a little more. However, if you just want an album that is in your face, then this is the one for you. 

pst43

ADULT : "Kissing Luck Goodbye"

 

The synths of Detroit's ADULT have now been moving dance floors for 25 years. More aggressive than darkwave, the vocals of Nicola Kuperus are certainly influenced by it. There is more anger in the stomping of the title track. If this music were being made with guitars, it would be post-punk. Though they lean heavier into the electronics for " R U 4 SALE", where they take complete control of the dance floor with buzzing synths grooving chaotically, but even the lyrics admit that "the chaos is what they want".

The lyrics on this album present hard truths that are in your face on "No One is Coming". I appreciate the dystopian nature of this. They are also fully prepared to use their synths in just as abrasive a manner as any punk band uses its guitars. "No Song" is more experimental as it bathes in the electro shower of sound rather than riding the beat. The vocal apporach is more abstract here.  "Freaks" feels more like a Revolting Cocks song. But this still works. The vocals are less focused on "None of It's Fun," which feels like she just went into the vocal booth and did whatever struck her.

"Human(e ) Volume" is another more experimental track that finds the chant of the vocals to be the centerpiece rather than the groove. "So Unpleasant" also takes a detour in a bunch of zany sounds, creating the backdrop for her declarations. "Destroyers" has a more industrial feel in how the song moves. Her vocal delivery is also more aggressive to complement this. I will round this up to a 9, as the more experimental moments are efective it just depends on if that is what you are signing up for. It took me by surprise so this is going to be on the more experimental side of synth punk. 

 

pst42