Black Metal History Month- Misotheist : "De Pinte"

Yes, there is still new Black Metal coming out of Norway, though four albums into their career, Misotheist are still new if you are comparing them to Mayhem and Burzum. There is also a fair amount of death metal aggression buried inthe cavernous darkness of their aggressive sound. The vocals bellow with a lower throaty growl. On the rawer more early second wave side of the classic equation, they balance this out with the sheer heft of their sound. To their credit, they are also not just dependent on blast beats. They can still summon a swirl of sound with this. I enjoy the opening track, so let's see if the rest of the album can hold up. 

The second song, "Blinded and Revealed," hits with a more intense punch that harnesses a more chaotic anger. It reminds me of Marduk in the straightforward manner they hit you head-on with the sonic hammering; it is not until later in the song that an eerie melody rings out within the layers of guitar. "Kjetterdom" slows things down to a more icy tension, which helps the overall dynamics of the album and gives your ears the needed break. 

The title track that closes the album is 21 minutes, and I can not think of any reason that a song needs to be that long. A great deal of the fat that needs to be trimmed is in the intro. It takes three minutes for the vocals to come in. The song moves at a slower pace that might warrant an 11 minutes if they are taking us to the intersection of funeral doom and depressive black metal. But it turns into a cavernous death metal closer to Incantation until the end of the song, when things take on a more intense darkness, cool sounds, but no reason for over twenty minutes of them. I will give this album an 8.5; it solidly puts them on my map, I wish they would focus more on songwriting, but if you want some black metal that takes from the Scandinavian roots and adds a more modern sonci intensity, this is worth your time. 

3.7

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pst72

Black Metal History Month - Into the Dark Castle of Dimmu Borgir's "In Sorte Diaboli"

 

Sometimes there are albums like this one that jsut hit the perfect place in time. It almost feels silly to review something this perfect. Hellhammer's playing solidifies his place as black metal's best drummer. It is the last Dimmu Borgir album we are going to hear ICS Vortex's voice on, which hurts them on albums to come. When everything falls into place like this, your dodn't want to mess with this chemistry. But the show had to go on, and the album after this is really great, but I think they set the bar so high for themselves it is intimidating to them to go back into the studio. 

It is an aggressive album. But there are tremendous riffs that pull it all together. The production is stellar. The mix had to be rough as there is so much going on at the same time at great speeds. While I think Shagrath's performance reaches his peak level on the next album, it's clear the production is dialed in, and he covers a great deal of dyanmic vocal colorswith the limited range he has to work with, making him one of the best black metal vocalists. The lyrics are even more pronounced on this album. This is highlighted on "Sacralicious Scorn". Vortex's vocal hook is one of his strongest performances ever. The epitome of hooky black metal. 

 "The Sinister Awakening." find Hellhammer playing like a machine as the tension flows in a manner that makes the riffs more effective when they do punch. There is a harder-hitting syncopation to "the Fundamental Alienation." They are consistently packing the most dynamics and sonic layers into this five-minute format. One thing I like about digging back into older albums is the chance to rediscover songs I might have overlooked on previous listens, which is the case with the last song, which is pretty dark for a band that deals in a darker form of metal, but is a more cartoonish super villain manner to some extent no matter the amount of pentagram used. I will give this album a 10, it's almost an 11, more than likely would be in my top 40 metal albums of all time. 

pst71

Qveen Herby : "Isle of Qveen"

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This is the pop artist's second full-length. She combines a catchy blend of rapping and singing. The wheel is not being re-invented, but what she doe ha a smart streak of creativity and perhaps more attitude now than when I first heard her. For someone from Nebraska, her approach is rather racially ambiguous, which plays to her favor when it comes to the more hip-hop elements. Her approach to rapping is fresh as she has plenty of hooks and an effective voice and lyrics that are almsot equal parts ghetto and whimsical. One of the lead singles, "The Fool"  features Thot Squad, which helped pique my interest, though this is not the first time she has been reviewed here. 

The more sexual elements do not feel like she is exploiting it any more than any other female rapper. But image-wise, she is not flaunting it, and her look is fairly conservative for rap. Almost more of a refined Lady GaGa thing going on. Why am I talking about her look rather than her music, ok go ahead and complain how if it wa a male artist, I wouldn ot do the same thing, which I would then refer you to reviews of bands like Ghost, Sleep Token, and President, who are selling image in equal proportion. 

By the time we get to "High Priestess," it feels like the formula is well in place, even though it leans in a more melodic direction. "Medicine Woman" feels more like a song Shanin Blake would do. "Hacky Sack" is more in her wheelhouse, but this syncopated style of singing she employs is less varied than the first half of the album, so it kind of sounds like something we have heard from her already. I will give this a 9 as she understood the assignment and made a fun pop album that grooveswith enough hooks. 

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Black Metal History Month - GAEREA :"Loss"

Portugal's GAEREA have been fairly consistent in their previous sonic assaults despite confusing pedestrians with their Sleep Token garb. This album is less black metal than the first two, as things slow into epic, sung choruses with more anthemic ambition. Even with these changes, it's hard to complain about them, as what they have captured here is very well done and sounds great. "Submerged" finds them leaning back into some of the more atmospheric dynamics to contrast the more hammering sections. It evolves into one of the more deliberate sections yet. 

"Hellbound" is a more overt pounding with the melodic elements in the periphery. By the time we get to "UNCONTROLLED," there is some tremolo-picked guitar that flirts with their more black-metal-leaning sound, but the blunt-force Behemoth-style bludgeoning begins to fidns the songs running together a bit when we get into the meat of the album. It is the vocal hook in "Phoenix" that makes me pay more attention. "Cyclone" finds both the atmosphere and melody being dialed up. When the more forceful vocals come in, they are on the more mainstream side of metal, but overall, the song works. 

This more mainstream approach to modern metal haunts the last two songs. "Nomad' carrying a more pummelling attack. The hook of the chorus does not snag me as strongly as moments earlier in the album. Technicallyu the last song is a modern metal power ballad, though more progressive in feel than say Sleep Token. Well produced and sounds good, it's a little blander than average, so I will give it an 8.5. This is consistent with their previous albums. 

pst69

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. 

pst68

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. 

pst67

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