This band was one of the first stoner rock bands to blaze the bong in their Camaro across the desert. There is more beef this time around, The vocals have more of a gritty growl, though they are upfront in the mix and hung out to dry with little effects on them. There is more in common with Motorhead here, than Black Sabbath, the riffs have a 90s grunge tinge at times.. I used to think of them as more stoner rock, but this album insists they are stoner metal and draws a pretty clear line in the sand about it. The burly boogie driving things is effective though, after the first three songs of it, I think they need to fuck with the dynamics a bit. The sound is big and easily establishes their relevance in 2024.
I wonder how many people in the Music Press are going to pay attention to the lyrics of "False Hope Diet". As it contemplates many topics that were hailed as being conspiracy theories. "Cemetary Rats" is the album's most metal moment so far as it thrashes out with an almost Pantera-level heft. "the Fury of a Patient Man" is more straightforward, and back to the almost Motorhead-level rock. "GEMINI" works off an effective groove. "the Justice Knift" thunders down the highway with a high octane charge tempered by a shuffle. Midway into the song they go off into a jam.
'End of Transmission " hits with a heavier hand that carries a more apocalyptic stomp. "Eye of the Minotaur" reminds me of Clutch. It's listed as a bonus track but it's on my version so I am counting it as one of the album's songs, I would say it does stand out a bit, but to their credit all of the songs are different, they are not just cranking out one sound and wearing it out. I will give this album a 9, it's a great deal of fun and rocks out harder than I expected from these guys. Peaceville Records is dropping this July 19th.
Thought of as one of the forefathers of second-wave black metal, it's been a minute since they conformed to any genre, and have been digging up the graves of 80s Celtic Frost for the past few albums which have done so with varying levels of nostalgia, Nordic atmosphere, and grimness. The first track makes it evident they have taken their time to dial these sounds in while still being true to who they are as a band. The chords ring out with an eerie melancholy, though the main guitar line holds a palm-muted tension that works in equal measure.
They have made their love for classic metal proudly and loudly known in the past, so it's not a surprise that "Eon 3" is a blatant Mercyful Fate tribute. That is without any attempts to go up into falsetto vocals, though the song is more sung than snarled. "Black Dawn Affiliate" moves things in a more aggressive Judas Preist meets Venom direction. It works more of its energy rather than the first two songs which had more depth in their arrangements. It works but I prefer the first two songs. There is a cool riff in the middle of the song, but my rule here is "cool riffs alone does not a good song make".
They have worked harder on the vocals this time around. You have to admire them because this is album 20 for these guys, so you have to respect the fact they are continuing to hone their craft and not just dialing it in. The guitar playing is also much more melodic on this album as well. This fact really gets the spotlight on "And in That Moment I Knew the Answer". They go back into a heavier crunch for "the Bird People Of Nordland". This is a step back into the more Celtic Frosted direction. The riff is pretty hooky and it induces head-banging so there is not much more to ask for. They do give more and speed up to more of a thrashing tempo, though it might come close enough to black metal to satisfy those who have not been happy post-Sardonic Wrath"
"The Heavy Hand" lumbers forward on the momentum of its meaty riff. This mid-tempo bruiser is simple but powerful. The last song reminds me a little of Metallica, which is a positive for the band, as Metallica are great songwriters, and for these guys to tap into those kinds of massive riffs is a testament to their growth as songwriters. At a mammoth ten-minute sprawl, things grind down into a crusty chug that brings Cathedral to mind. The riff at the end of the song is supposed to feel like Mercyful Fate but it sounds more like Ratt to me, however, the vocals help balance this out. However, if Darkthrone really wants to follow the footsteps of Celtic Frost a hair metal album would be the next logical step. I will go ahead and round this up to a 9.5, and see how it sits on me, I think it pulls off what they have been going for the past few albums in the most focused form yet.
Former Mayhem guitarist Blasphemer or Rune Eriksen created the project in 2020 with Aggressor drummer Cesar Vesvre, they tend to bathe in atmosphere in a more ritualistic manner than Mayhem. The opening track "Blood. Sacrifice. Enthronement" shows a willingness to linger in the shadows rather than just go for the throat with a barrage of blast beats the entire time. Inspired by his studies in Brazilian witchcraft, the album lets itself simmer in the unknown. Why a Norwegian is drawn to Brazilian witch craft rather than something of a more Northern European current is an interesting paradox to ponder when it comes to this album. It also makes sense when you use that as a metaphor as to where these arrangements are going , like when four minutes into the song everything breaks down to the minimal strum of guitar. There is something unnerving about how it is done , but that is part of the point to this.
I think hard core Mayhem fans will still find plenty to appreciate in regard to the direction this album heads. The harsher vocals work like the raspy whisper of a witch calling out from the woods. When it comes to fully immersing in the more occult musings this album explores, I just focus on the music.. As a student of the occult myself , I appreciate the enthusiasm of student that inspires a musician to fell the need to carry forth in their art. Energy wise it is not of the same current I pursue but I appreciate the zeal with which he has set this in motion with. The second song broods further into the darkness, even when the more aggressive elements come crashing in. The writhing pulse of the riff before things speed up was making me happy, so I am sad to hear that replaced with blast beats, which could very well be the blast beats from any other black metal band. This also sounds more like Mayhem, which if I were him is something he should distance himself from. The drumming is the most impressive element.
The sinister ambiance they create to haunt these songs with might be the most inspired element of the music ,as at the core of their sound is your typical black metal rage. If you are a fan of by the numbers black metal then that will satisfy you, though the fact you listen to black metal means that unless you really are just a kid into punk that is trying to get into metal you probably don't think your favorite band plays it safe, so this might seem really left of center to you. It's all about perspective. The song does have some manic ebb and flow. Once again bringing us back to the fact that it's the sinister ambiance that is the best part of that equation.
The title track brings the clang of even more eerie guitar chords ringing out. The build is slower on this song , allowing for the storm to build. When it seems like the drums are going to be allowed to wreck havoc they ebb things down, which is what this album needs more of , the unexpected. When it does build into a blazing fast tension of tremolo picking at least there has been something to give it more contrast. They do not always use that kind of restraint as heard on the more feral explosion that is "Evig Dissonans" . It blast by with reckless abandon, doing little to separate itself out from the pack. Half way into the song the sonic lashing of the blast beats is hard to endure., The little singing offered is mixed way back. The chug to "Fall of Seraphs' reminds you there is a more effective sort of way to go about this. The vocals retain more depravity in their exclamations. This makes up for some of the more traditional thrashing coming from the guitars.
"AO Rio" is more of an interlude than a song as it just drones on the same atmosphere the entire time without going anywhere. While I like the sounds assembled I need it to have more dynamics, so for the purpose of this review I am not counting it as a song. The last song is more of what you would expect from black metal. It blasts along with the thrashing fury from which the genre was spawned from. I will give this album an 8, if you are a huge Mayhem fan then obviously check this out, it is what you want from black metal,. this album is being released on Peaceville.
The 6th album this band has released since 1995 means that they value quality over quantity. Their first album in eight years. Yes, they are Norwegian black metal in the truest since of the term, but they are not just trying to replicate what Darkthrone once did. They are not afraid of blast beats as evident in the opening track. Sung vocals are used almost in equal measure to the harsh growls. They shift through many melodic moods and atmospheres. Things get really creative in the last minute. The second song has a greater buzz of tremolo picked guitars to sit against the melodies. It takes a more progressive turn into a melodic direction than the previous song.
There are not many black metal albums coming out these days with as big of a sound, that is also this dark and wandering. They use the traditions of black metal to their advantage. Yet this album has a lush production. Their is almost a King Diamond like feel to "Interstellar Nexus". It has a very creepy feel though is more dissonant than what the King would do. Things get progressively weirder from there in the best way possible. "It Does Not Follow" finds their groove continuing down unexplored corners. They go from blues-based chords to industrial. "Voyager" is just and instrumental interlude leading into the more melancholy "Halow". The drumming is impressive, but the throb of this song feels a little less focused despite being more emotional. The song takes a more atmospheric turn in the final minute.
There are moments when they bob and weave around the more metallic pulse, but sometimes they take turns that are less compelling than the one before it. "Abyss Perihelion Transit" gets creepier and uses the ambiance to its advantage. It wanders around like Skinny Puppy and Killing Joke jamming to prog rock. It ends back on a starker yet more dramatic flair of atmosphere and vocal color. I will give this album a 9.5, it excels at realizing it goals, while making compelling songs that take more risks than what black metal bands dare to do these days. Peaceville Records is releasing this.
On their 19th album it's good to hear these guys get back in the direction of black metal. Their last album felt like a tribute to Celtic Frost. The opening track to their newest effort moves at a very deliberate pulse into a darker and more depressing place. They do pick up to a proto thrash speed, so the love of the classic still flows freely in their veins. They head in a more Venoim direction on the second song. It is pretty straight forward, mood wise, not as interesting as the opening track as it's kind of color by numbers post-2010 Darkthrone. It does not suck either it is just not all that memorable.
These guys are at their most impressive when they bring chilling atmosphere and eerie guitar melodies. Synths are more dominant on "Stalagmite Necklace". The synths might be a point of contention for some, but I welcome anything that adds sonic dimensions and keeps these guys from becoming the new AC/DC of black metal. "The Sea Beneath the Seas of the Sea" is doomier. It rings out with darker intentions. Nothing close to a blast beat when the chug gets more deliberate. Sure, there is a touch of Celtic Frost to this, but it is done in a more effective manner than the last album. This is much more inspiring to head bang to.
There is more of a nasty black metal feel to mid paced grind of "Kevorkian Times". I would not say this is a doom album, though those elements run through this album, yet are more focused on darkness and brooding than any mournful or sorrowful feeling. I appreciate the bleakness present at times here. The riffs on this album are more thoughtful than anything we have heard from them in the past couple albums. They are in a more experimental mood, as there is a weird interlude before the last song. The harmonized guitar lines leading into "Eon2" is pretty killer. While the album opens up with a rawer sound, it evolves into a greater production quality as it progresses. I will round this up to a 10 which I have not gotten to do with these guys in a minute, so that brings me a smile. If you are a Darkthrone fan you can know you are going to like this, keyboards and all.
This album is 17 years old. How well does it stand up to the test of time ? We are about to find out Darkthrone is a band who has evolved over the years. This finds them still as black metal band but perhaps not black metal in the way they had previously helped to define it. Cold is the best way to describe the feeling of the opening riff. They were way past blast beats at this point and into their raw punky Black n Roll feel. The vocals have more of a croak to them . This over all sound seems to have influenced Inquisition a great deal. They do build into more of a gallop. The pace to the second song picks up which is more typical of what can be expected of Darkthrones less blast beaten days. I did not say Darkthrone's post black metal days as this album still feels black metal as do all but maybe the past three.
"Fucked Up and Ready to Die" has more buzz to the tremlo of the riff and nastier scathing vocals. The song slows into a much more powerful riff.They return to the more Celtic Frost pacing and stomp along into the next song. This one kind of drones on. The guitars summon a more sludgey atmosphere while still in the ball park of black metal. The drums are a little low in the mix ghere as the guitar dominates. "Divided We Stand" is closer to black metal of today. It meets at more of a punk place , but the buzz saw guitar is totally black metal. The vocals have a more tortured rasp to their croak,.There is more of an uptempo punk feel to "Striving For A Piece of Lucifer". The guitar is a little sloppier here, not that they have ever been about precision. If you are a punk looking for a starting point for black metal, this song is a good place to start.
This faster punk attitude and sloppiness can als be felt on the last song "In Honour of thy Name". This is not my favorite moment from this band as it is very haphazard. I will give this album an 8.5 it's not the Darkthrone album even from this time period that I listen to the most. As I stated before if you are a punk looking to get into black metal this is a good place to start.
Here is where we are going to look at an album that has long been considered at classic and ask how well has it stood the test of time. This album was released in 92 and most of the time we dig back a little further than but this is part of what fans call a trilogy that has grown into legendary status. So what happens when you strip that hype away and take the songs for what they are without any pretext.So lets have a listen and see. It off course starts with chanting and ambiance. Then metal kicks . This was recorded in 91 so it has the kind of rawness that bands have been trying to replicate ever since.There are chaotic bursts of speed but the bulk of the song is not a pure blast beat frenzy. In fact much of the song kind of stomps along almost closer to death metal. It grinds at more of Celtic Frost speed toward the end goes into the blast beat that is now thought of as traditionally black metal.
"In the Shadow of the Horn" finds them in more of the Celtic Frost like thrash. The solos have a more Slayer like chaos to them. Then there is the weird passage where they clean guitar is oddly layered over things. It's interesting to go back and listen to this album as I had forgotten about the guitar melody to "Paragon Belial" and the odd angular twist to it. "Where Cold Winds Blow" is totally the kind of feral blasting black metal rawness that countless bands are trying to replicate. It could be argued the most iconic songs on the album are the last two. The title track blasts right into things with an almost punk energy. At a minute into this it shifts into a more almost classic metal groove that throbs as much as it gallops. Culto's vocals on this song in my mind defines what the large majority of black metal vocalists are going for. I think this song gets more powerful when it slows down. Fenriz's spoken word sections are kind of silly but the rest of the song makes up for it.
"the Pagan Winter" is yet again another display that even a black metal classic like this one can not live on blast beats alone and the song ebbs down before going into more of a triumphant gallop.Through out the course of the song there are moments with it speeding up with a melody that keeps repeating as a theme the song goes back to. Overall for what this album is it's pretty solid and has some strong songs, though it is not perfect so I am rounding it up to a 9. It might be considered the first time they played black metal, but I was just listening to it in terms of how it stacks up when you take that context away. A 10 is a classic, so it falls a little short of the hype that elevated it to that status, though it is easy to hear how if you are punk kin wanting to get into metal this could be an entry way to that.
I remember liking these guys at one point , but also don't remember the vocals being an amateur gurgle that sounds like it's over driven because it's too close on the mic and wonder why when everything else is pristine does it sound like no one gave a shit about that part. So we are off to a rough start until the clean vocals come in. They sound like Bryan Ferry covering Katatonia. These vocals are not as graceful on the second song and come across like they are struggling to stay in key. Another problem is the endless wanking that spreads it's spunk over these songs with no real purpose. The lyrics to "Unbound by Sin" sounds like something from a motivational speaker. The guitars sounds great so someone needs to rein the guitar player in and tell him it's not all about him, but the songs. They used a producer who worked with Thin Lizzy and Yes so he had to know what was going and I guess here just collected a paycheck.
It's sad because I was looking forward to checking this out when it popped up in my in-box. The drums sound better , but the throaty almost Foghorn Leghorn vocals don't do them a lot of favors. The bass seems to be the only one totally dialed in. The vocals might have benefited from better production for sure.The frantic black metal flavor of "First to Leave the Funereal " with all it's vocals flaws somehow matters to be interesting in a Sigh like fashion. They end up returning to the more thrash like pacing that has dominated the album thus far and makes the more melodic moment have more appeal. There is a decent progressive feel to "Familiar Ghosts" the melodic intro works well before it descends into the all too frequent guitar solos and sub-par vocal styling. The black metal vocal is the best of them all and that is not just because I am more partial to that approach, it's the best executed.
They return to that darker more moody place going into "A Final Glance Back Before Departing". This song is shows potential in the first minute before they hurry into the thrash section. Beyond the wanking the Slayer influence is very apparent. It is more of a "Show No Mercy" era Slayer I am hearing. Even the clean vocals are terrible on this one. The vocals do improve at the beginning of "One Chapter Closes". I also don't remember in the past hearing them use this many clean vocals. I think we are already past the half way point of this one without anything distasteful happening to that is a profound improvement. I think this is the best song on the album, so they might have wanted to take a look here and what worked and built off of that. I could tolerate this level of wanking no problem. Don't get me wrong I want to hear that you can pull that out of your back pocket and play your instrument when called upon to do so . Balance is the key.
The first 36 seconds of "Inner Sanctum" are good. Then the need for speed overtakes them. Based on the lyrics I begin to wonder if a member of this band got sober and that is what is throwing off their chemistry and creative spark. The melodic sway of the last song, has some Faith No More moments, it's not until the four minute mark that the chaos and metal break out, The phrase "you can not not see" sounds like "You can not nazi" . I'll give this album a 7. There are some strong moments in this shift of moods for the band, though I think the vocals needed more careful review in the mixing process.
