Artist: Ruins of Elysium
Release Title: Seeds of Chaos and Serenity
Year: 2017
Label: Self-Released/Independent
Genre: Symphonic Power Metal
Tracklisting:
1.Kama Sutra
2.Shadow of the Colossus
3.Serpentarius
4.Beyond the Witching Hour
5.Iris
6.The Birth of a Goddess
7.Seeds of Chaos and Serenity
Continuing to uphold their past success, international symphonic metallers Ruins of Elysium have brought their epic sound and capabilities to offer even more bombast and grandeur into their material than their previous efforts. Taking a concept approach around the anime Sailor Moon for their epic title track, the groups’ sophomore full-length was self-released April 4, 2017.
Similar to their previous effort, the band is once again in full-on bombastic and glory mode throughout this one offering a stellar look into their formula. This here is built primarily around the grandiose tempos, featuring lightning-fast riffing and barreling drumming that is completely overshadowed by the bombastic keyboards that offer the over-the-top theatrics customary within the genre. It runs through these efforts with reckless abandon as the histrionics from the music match the spoken tales of glory and heroism that is captured expertly by these over-the-top rhythms giving this one the kind of driving attitude that works for the most part. That gets held up by the one detrimental, overriding flaw here in the overriding and truly bombastic epic at the end, going on far longer than necessary to really prove it’s point and making for a truly exhaustive ending more than anything. The dedication to go for something like this, a massive mini-album in its own right as the five-track suite makes for a fun enough representation of their work anyway beyond going through the motions of what’s on offer elsewhere on the album, yet the fact that it just goes on endlessly as the five movements clock in around regular-length tracks anyway and it just makes the album a drag to have to get through in order to experience it all. Though it’s fun enough, the daunting feel and approach are what somewhat lower this one.
As there’s one huge, nearly overwhelming effort holding this one back somewhat, it’s a little lower than what it should be as the rest of this one is some rather impressive symphonic-styled power metal that’s featured here make this a must for any fan of the style or can celebrate the excess within.
Artist: Blood Red Throne
Release Title: Union of Flesh and Machine
Year: 2016
Label: Candlelight Records
Genre: Old-School Death Metal
Tracklisting:
1.Revocation of Humankind
2.Proselyte Virus
3.Patriotic Hatred
4.Homicidal Ecstasy
5.Martyrized
6.Union of Flesh and Machine
7.Legacy of Greed
8.Exposed Mutation
9.Primal Recoil
10.Leather Rebel (Judas Priest cover)
11.Mary Whispers of Death (re-recorded version)
One of the genre’s leaders, Norwegian death metal machine Blood Red Throne has fine-tuned their attack into as devastating and dynamic a group found in the scene today. Now rejoined by original drummer Freddy Bolsø to the group’s ranks, their vicious eighth full-length effort from the group is released July 25, 2016 on new label Candlelight Records.
Still going strong throughout their career, this effort here quickly shows why they’re at the top of the genre with the way in which this one goes about its attack. The bands’ patented, deep churning riff-work with a strong technical bent are at top-form here, switching expertly from a blasting groove into the mid-tempo crunch patterns and even utterly frenetic paces that just utterly rip through ferocious blasts of swirling patterns offering plenty of full-speed tempos to the proceedings. Each of these sections, from the groove-filled chug to the tight, technical crunchy patterns manage to work out a balance and variance to the album that’s quite distinctive where it’s able to tap into the violent intensity that’s been a trademark of their core sound while also easing up enough so that the impact is still forceful while remaining a heavy, churning beast of an album. Even more impressive is the fact that these varying rhythms and arrangements still manage to capture their trademark biting professionalism, as there’s a dynamism to the tracks being able to switch expertly to these styles while managing to contain enough of a technical undercurrent to appeal to the old-school crowd while whipping up the more ferocious and thumping intensity found in the more modern school of sound as the heavy, deep-seated thumping in the album is quite infectious and really works out very well here. The album does have one minor nit-pick of a flaw here in that the mid-section of the album tends to run through some pretty repetitious patterns and seems to feature some overly-familiar rhythms with the tracks yet that’s all it really is as this was yet another utterly strong effort.
With yet another strong and dynamic display of their patented attack and the most minor of nit-picky style of flaws to be found here that might not even be a flaw to some, there’s so much to really love about this one that it’s quite an impressive release for fans of the bands’ style or old-school death metal fans in general, while most straightforward death metal fans will appreciate it as well.
Artist: Vesen
Release Title: Rorschach
Year: 2016
Label: Soulseller Records
Genre: Black/Thrash Metal
Tracklisting:
1.Damnation Path
2.Pray for Fire
3.Target: Horizon
4.Blood, Bones and Pride
5.Screaming Sane
6.Crown of Scars
7.Vulgar, Old and Sick Blasphemy
8.All in Vain
9.Away the Tormentor
10.Final Insult
Finally returning to active duty, Norwegian black/thrashers Vesen have brought forth a concept album about the deteriorating mental state of an individual and how they deal with that told with the traditional sense of style found in their previous work. As the four-year break has brought along their same progressive edge to the forefront, the groups’ fourth full-length was released December 16, 2016 on Soulseller Records.
As what was so prominently a part of the bands’ past catalog, there’s a loud, raucous attack featured throughout here that makes for a generally explosive effort. Fueled by furious, swirling thrash rhythms and a generally full-throttle approach, the vast majority of the release carries this high-energy surge through the material aided nicely by the dark, filthy production style that adds more life to the proceedings. Unleashing the thrashing riff-work to delve into a raucous charge with the high-energy, fire-spitting rhythms that are nicely topped off by the darker patterns featuring plenty of the swirling black metal patterns that are introduced here to give this one quite a prominent darker facet to the music. Balancing it out quite nicely are efforts which drop the high-energy thrashing in favor of the slow, sprawling elements that extend this one out far longer into epics that counteract the tight, vicious thrashing elsewhere here, which is a nice feature though it does seem somewhat out-of-place here with the slow, ponderous rhythms being quite jarring against the more vicious, intense stuff throughout here. It does get a little slack here being that this is a concept album requiring those be placed here to carry the storyline out, but it’s still somewhat of an issue.
As there’s a lot to like here with the bands’ vicious and intense side rather than the more epic, sprawling material which holds it back, those few minor problems are just enough to knock this one back and makes this one really for the most devout and undiscerning fan of blackened thrash metal.
Artist: Djevel
Release Title: Norske Ritualer
Year: 2016
Label: Aftermath Music
Genre: Old-School Black Metal
Tracklisting:
1.Vi slakter den foerste og den andre, den tredje lar vi gaa mot nord
2.Jeg maner eder alle
3.Doedskraft og tre nagler
4.Med christi legeme og blod under hoeiere fod
5.Til mitt kjaere Norge
6.Med tornespiger var han haengt
7.Maatte vetter rase som aldrig foer
8.Afgrunds Engle
Blazing through the underground, Norwegian black metallers Djevel continues to lead their way through the old-school format as the traditionally-minded group heads out into the same fields and patterns normally reserved to the old-school ways which befit the band members collective experience. Wasting no time in releasing a new album in consecutive calendar years, the groups’ fourth album is released November 11, 2016 on Aftermath Music.
There’s little question here about the bands’ influences on this one, it’s all pretty much spelled out here from the very start with some rather immediate parts coming to the forefront of this one. This is a pretty substantial and impactful old-school release which carries those elements quite handily, from the swirling tremolo-picked patterns that are continuously flowing from ravenous bursts of up-tempo blasts to weighty mid-tempo sprawls throughout here, generating the kind of furious old-school assault that is completely capable of accomplishing this stylistic framework through the album’s epic-length tracks that allow for these types of patterns quite easily. Likewise, this also manages to incorporate the stylistic breaks throughout here where it’s able to weave haunting acoustic segments or ethereal chanting choirs into their pummeling attack which generates the kind of frantic departures within their rhythms that add that extra touch to the bands’ old-school showcase, and with the whole affair wrapped in that stylistic cold, freezing production that compounds the fiery tremolo riffing and thumping rhythm section it all completes the old-school experience incredibly well. That’s also the album’s main curse against it, in that the old-school approach is so heavy and prominent that it doesn’t really differentiate itself from the numerous other second-wave imitators in the genre which are quite prominent in the scene. They’re remarkably proficient and competent in this style, but it doesn’t change the fact that it’s quite a familiar approach is the main flaw present.
While the ravenous old-school tendency carried throughout here is the main problem associated with it, there’s little else that really strikes as being detrimental enough to allow this one to be of quite significant interest to any fan or interested party in second-wave Norwegian black metal.
Artist: Infant Death
Release Title: Violent Rites
Year: 2016
Label: Apocalyptic Empire Records
Genre: Black/Thrash Metal
Tracklisting:
1.Troops of Dead
2.Vomit Funeral
3.Burning Wild
4.Subhuman Elimination
5.Mutilation Hammer
6.Blasphemy Prevails
7.Purified Remains
8.Malicious Lust
9.Exploder
10.False Prophesies
Simply gaining in experience with each release, Norwegian black/thrashers Infant Death have gained a formidable reputation following their previous releases and continues to showcase their frenzied and schizophrenic sound to the fullest old-school appeal. Following a split release earlier in the year and with a two-year gap between releases, the power-trio prepares it’s third full-length effort September 23, 2016 on Apocalyptic Empire Records.
As has been the bands’ style, this here is a series of ravenous, tightly-wound speed metal throughout the album which pretty much carries this one along without much deviation at all and really makes for quite the impressive attack. The charging, blistering speed and utterly relentless tempos here generated by the frantic, raving riffing makes for the tightly-wound rhythms that are characterized by their speed metal leanings while also managing to incorporate the styles template for raging, chaotic patterns that generally make for an out-of-control feeling. That inherent speed and tight, dense thrashing style is quite reckless in doling out it’s rhythms here which is an utterly enjoyable and dynamic charge that makes this one so enjoyable as there’s generally no let-up from the attack, and with the utterly furious patterns full of those frenzied arrangements on display that makes for an even tighter, more explosive offering as every track here is just utterly frantic and furious about doling out this style attack. Frankly, that does lead into the album’s one main minor flaw here in that it’s simply way too one-note with it’s approach as every track is generally a non-stop series of relentless insanity in the riffing generating a furious tempo throughout here which doesn’t change or deviate and it can lead to the album getting quite lost in itself rather easily. Because the tracks are generally indistinguishable from each other and they’re all pretty much the same length as well this one can become quite hard to tell where it’s at here and it can be a minor issue for some. However, this is barely a problem overall and isn’t too big of an issue with all the savage intensity on display.
Though this one is a pretty similar-sounding effort without much general difference between many of the tracks here, the album’s overall directness and savage approach makes this a far-more appealing and interesting effort as it goes along and generates plenty of interesting parts here for blackened thrash fans or speed metal aficionados.
Artist: Vinterbris
Release Title: Solace
Year: 2014 (2016 re-issue)
Label: Nordavind Records (Triton's Orbit re-issue)
Genre: Melodic Black Metal
Tracklisting:
1.Dysphoria
2.Ash Alight
3.Fathoms
4.The Aurora of Despair
5.Gazing at a Fallen Sky
6.Euphoria
Following up the acclaim of their debut release, Norwegian melodic black metal band Vinterbris have quickly risen up the ranks of the scene and their homeland’s greatest genre acts that’s all culminated in one of their finest releases yet. Being the last release with original guitarist Richard Hemre Dahle before being replaced by Fran Ramirez, the group’s second full-length was originally released June 16, 2014 on Nordavind Records before a vinyl reissue September 16, 2016 on Triton’s Orbit.
This here is quite an impressive assault which manages to round itself out into numerous rather appealing facades. The most impressive is the fact that this one drags itself through highly-melodic and enjoyable riffing that still retains the fiery tremolo-picked style in the frantic up-tempo realms while still generating plenty of harmonious leads that makes this all the more imposing. By dropping the tempo down in the middle of the tracks for extended segments of melodic atmospheres that are wrapped in completely furious patterns, it creates an enhanced level of harmonic nature by balancing the extremely aggressive traditional black metal fire with strong melodic moments, and given that there’s plenty of truly ferocious moments still within this one makes for a rather impressive blitz. Even the other additional elements present here, from the more pronounced technical riffing which gives this one a much more dynamic series of rhythms while letting it simply blast away on it’s other riffing patterns and bringing in some acoustic instrumentation to accompany the melody lines throughout here give this one much more to like in the bands’ overall attack. Though this makes for a generally enjoyable time, this still has a minor issue in the fact that there’s just not a whole lot of time here to get acclimated to the bands’ approach. It really feels quite short-changed here even with the rather overlong and fully-loaded rhythms that are apart of the multi-faceted tracks here which is quite an odd feeling but it does become prominent enough to get noticed. Otherwise, this one has plenty to like here.
Though it’s a bit rushed yet seems a little overlong which is a rather unusual facet, the fact that there’s still a large amount of quality work displayed here with the strong riff-work and utterly impressive melodies that are prominently featured here makes this a strong effort for those into the more melodic black metal sound.
A mysterious one-man band, Norwegian atmospheric black metal project Tzaak has quietly arrived and spread it’s brand of pleasing ambient themes and atmospheric black metal together into a solid whole. Coming together for it’s debut effort, the moving and dynamic release was initially independently offered June 28, 2016 before a re-issue July 10, 2016 on Sepulchral Silence.
At the onset of this one, it’s pretty apparent that there’s a lot of epicly-arranged rhythms here with this one tending to utilize the rather straightforward and one-shot riffing style here. Offering a simplistic, buzzing-style of tremolo-picked riffing swirling along at a majestic, mid-tempo pace here there’s plenty of warm, naturalistic melodies at play within these rhythms as the straightforward mid-tempo plod that the majority of the album is played at manages to generate a fine sense of the overt atmosphere present here. With plenty of epic, majesty-laden melodic accents from the riff-work added alongside the album’s tendency to navigate excessively overlong and majestic atmospheric accents that are able to make this feel far more epic with it managing to travel alongside these overlong arrangements with plenty of tight-if-overly-simplistic arrangements generated throughout the tracks and some nicely-placed keyboard melodies that aren’t overworked here. Even when the album does kick it up in terms of the arrangements and tempo here, there’s still that overly warm and majestic feeling here that comes off so well in regards to settling the epic atmosphere, and there’s overall a lot to like here. There’s a minor issue here in that the tracks, due to their epic length, tend to feature monotonous arrangements that aren’t all that pleasing, as many of the outros are stretched out over a minute or more with endless acoustic riffing or just plain dull elements that aren’t in the slightest enjoyable as they make it obvious the album’s being stretched out to that epic length. The brevity of the tracks is a minor issue, but overall not nearly as much as the other issue.
While it does wear it’s length quite heavily and features some rather bland moments that come from that, it’s still got enough enjoyable elements that show it’s got something enjoyable going on with it that this ends up being quite an appealing effort for fans of atmospheric black metal of all kinds or those that appreciate epic metal of this variety.
Originally conceived as a studio solo project, Norwegian black/death metal stalwarts Vredehammer have since grown into a fully-fledged unit as a revolving door of musicians have joined mainman Per Valla’s project, Backed with a new rhythm section of bassist Stone and drummer Felix and a March 18, 2016 release on Indie Records, this pounding second album carries the high stamp of quality they’ve been known for from the beginning.
Essentially this here is a strong and imposing effort that manages to mix together the traditional old-school second-wave of Norwegian black metal with a strong, defining death metal crunch that produces some devastating results here. This mixture of work ends up giving this the steady tremolo-picked rhythms and majestic mid-tempo sprawling sections loaded with atmosphere prevalent in numerous black metal bands of that time while mixed together with the deep churning rhythms of death metal. It’s a fantastic mixture that gets some devastating work out of it, and is one of the better parts here, as the more relentless tracks are furious and boundless being filled with the rage and intensity usually found there yet still retaining a few select appearances of melodic sprawling to offset the chaos when it slows down the tempos. This gives the album some really enjoyable tracks here, though there is some minor flaws found here when the tempos change over into those sections with the noticeable drop-off in intensity being so obvious that it brings down the tracks slightly with the loss of energy from these sections. Other minor flaws show up in the series of jangly, discordant rhythms that pop up in a few tracks which is just so off-beat and jarring that they stick out and really aren’t that appealing overall, but it’s not nearly enough to off-set the more pronounced positives featured.
Though there’s some minor, slightly detrimental flaws to be found here, there’s more than enough positives found which are far more impactful to the album as a whole anyway that this stands as a fantastic effort for those looking to explore more old-school black metal or to see what else the second-wave inspired in the genre.
Artist: Nordjevel
Release Title: Nordjevel
Year: 2016
Label: Osmose Productions
Genre: Old-School Black Metal
Tracklisting:
1.The Shadows of Morbid Hunger
2.Sing for Devastation
3.Djevelen i nord
4.The Funeral Smell
5.Denne tidløse krigsdom
6.Blood Horns03:38
7.Det ror og ror04:50
8.Når noen andre dør...
9.Norges sorte himmel
The self-titled debut release from Norwegian black metallers Nordjevel is pretty much exactly second-wave Norwegian black metal of the highest order without much difference of execution. There’s not a whole lot here that separates the band from their countrymen peers pumping out the same kind of quality two decades ago, being expertly-designed and executed black metal full of ripping tremolo-picked rhythms soaked in brimstone and hellfire that sounds positively explosive in this dynamic mix. Buzzing along at a tight, frantic tempo which gives this a definite melodic air against the more ravenous and vicious rhythms that are much more prominent here. Still, the melodic undercurrent here is still very much a part of the attack as the buzzing rhythms create a more melodic base against which it can securely meld these vicious riff-patterns and utterly chaotic drum-blasts that tend to make the music all the more vicious and engaging as it features both rampaging full-throttle riffing against infectious melodic harmonies. While it can be said that there’s nothing all that original here about the band being so blatantly and openly aping that sound and aesthetics throughout the album here, it’s a moot point here being as fervently enthusiastic and engaging here as this is the only real flaw within their music and it gets lost quite early on as its drowned out in a sea of passionately-played, competently-executed riffs and melodies that make for an immensely enjoyable effort from a promising new project.
The first half here expertly displays what’s featured throughout this one. Opener ‘The Shadows of Morbid Hunger’ features an extended howling-wind intro before blasting into vicious drumming and ravenous swirling tremolo-picked rhythms along surging up-tempo paces full of buzzing riff-work and dexterous drumming keeping the intensity in check throughout with the blistering tempos into the droning-sampled finale which makes for a wholly enjoyable and impressive opening here. ‘Sing for Devastation’ takes a more melodic sprawling tremolo riff into a dynamic and rather frenetic mid-tempo run with fervent melodies and dynamic drumming that continues along at a steady pace with the tremolo rhythms augmented nicely by the melodic tendencies in the final half for one of the album’s better efforts. ‘Djevelen i Nord’ offers a simple melodic series of swirling riff-work and plenty of dynamic drumming that takes the melody-driven tremolo-picked rhythms nicely along the intense blasting drumming as the sprawling melodies surge through dynamic charging tempos loaded with intense riffing into the up-tempo finale for yet another impressive effort. ‘The Funeral Smell’ features pounding drumming along with stylish up-tempo tremolo riff-work bouncing along at a feverishly up-tempo pace with plenty of blasting drumming and melodic riffing buzzing along to the frantic tempos with the clattering drumming working into a ravenous final half for another furious effort. ‘Denne tidløse krigsdom’ blows through the air-raid siren intro into bristling double-bass blasts with ravenous tremolo-picked riff-work and tight, mid-tempo rhythms that continually blaze along at varying up-tempo paces as the swirling tremolo-picked riffs buzz through vicious patterns into a more melodic finale for an incredibly enjoyable track.
‘Blood Horns’ takes a steady, bombastic mid-tempo approach with chaotic drumming blasting through the furious tremolo-picked riffs full of up-tempo blasting alongside those swarming rhythms as the urgent rhythms and intensity packed into the furious and frantic mid-section further the vicious final half makes it a true lasting highlight among the already impressive offerings. Offering back-to-back blasters as ‘Det ror og ror’ takes a swirling melodic riff into a rather frantic mid-tempo series of swarming tremolo riffing as the blitzkrieg-style drumming continues blasting throughout the feverish speed-driven sections full of melodic harmonies amongst the blinding speed continually blasting along throughout the finale for yet another stellar highlight. ‘Når noen andre dør…’ features sparkling tremolo harmonies against the blasting full-throttle drumming that takes a more vicious run away from the melodic qualities in the mid-section full of furious riff-work alongside the utterly punishing drum-work that manages to bring back some melodic rhythms in the still-frenetic final half for an overall impressive outing. Lastly, the epic ‘Norges sorte himmel’ features a melancholic riff against droning militaristic drumming that settles into a fine mid-tempo march with the swirling tremolo melodies and pounding drumming that successfully adapts to quicker tempos with more furious riff-work and blasting drumming carry the devastating mid-tempo pace along with the occasional solo section or mid-tempo break as it settles into a relaxing piano-led finale for a rather enjoyable slower-paced offering. Their album-closing cover of the Slayer classic ‘Raining Blood’ offers a lot of the same riffing and speed but loses a lot of the engaging heaviness going through the notions here as the varying riff-work comes off enjoyable if slightly obvious in the final half which ends this one on an overall fun note.
This one turned out to be among one of the most faithful and utterly engaging second-wave worshipping bands in the genre, and that this one is only their debut immediately makes them top contenders right out of the gate with what is easily an essential release for anyone remotely interesting in traditional black metal fare or looking to rediscover the glory days of the Norwegian scene.
Artist: Sublime Eyes
Release Title: Sermons and Blindfolds
Year: 2015
Label: WormHoleDeath Records
Genre: Melodic Death Metal
Tracklisting:
1.Greedy Hands
2.Ten Stones
3.Destroyer
4.Shellshocked
5.Your Time Is Done
6.No Regrets
7.We Are Chaos
8.It All Disappeared
The second album from Norwegian melodic death metallers Sublime Eyes offers a rather enjoyable if slightly formulaic brandishing of the genre throughout here. The riff-work on display here is mostly determining of that kind of melodic fire throughout here by offering up a strong series of heavy traditional-styled rhythms that are quite a bit heavier and more dynamic than would be expected from most melodic death metal outfits that then allows the melodic flurries to be sprinkled along for maximum impact. Putting alongside some nice thrashing drum-work alongside that gives this another strong element at play with the more frantic, up-tempo tracks here letting the fiery melodic leads even more room to breathe quite nicely here and generate some overall impressive moments here when this one lets it rip. Though this is all highly enjoyable and often responsible for some great tracks, there’s one overriding problem running throughout here in that the tracks just don’t really offer much variation to stand out from the crowd. However hard-hitting it may be and however infectious it features with the riff-work, this is still a pretty straightforward release that doesn’t really change the wheel or go for any kind of experimentation as the album is a simple, straightforward release played nicely enough and with conviction but doesn’t really generate anything new overall.
Overall this one doesn’t have all that much wrong in the first half. Opener ‘Greedy Hands’ slowly works into a sweeping melodic bent utilizing pounding drumming and up-tempo swirling tremolo patterns throughout the tight, chugging melodic leads running alongside the thumping rhythms holding the blazing leads thumping along to the heavy riffing in the final half for a strong, impressive opener. ‘Ten Stones’ features pounding drumming and swirling tremolo riff-work into a rousing, energetic series of thrashing rhythms and dexterous drum-work turning through a strong series of mid-tempo chugging rhythms leading into the swirling solo section and continuing the rousing energy into the finale for another enjoyable effort. ‘Destroyer’ utilizes sweeping melodies and churning rhythms with pounding drumming through a rather fiery series of mid-tempo patterns keeping the pounding drumming alongside the rumbling series of riffing through the solo section and into the fiery melodic final half for a decent enough effort. ‘Shellshocked’ utilizes deep, churning riffing alongside dexterous drumming and light melodic leads keeping the tightly-wound riffing along through the stuttering rhythms as the explosive swirling melodies and thrashing drumming carry on through the blasting finale for a solid and enjoyable offering.
The second half is more of the same and offers a lot to like. ‘Your Time Is Done’ uses a gradual build intro with discordant riffs leading into the tight, pounding drumming and urgent riff-work featuring plenty of light melodies with the rather dynamic, dexterous drumming holding the stuttering rhythms alongside the blasting final half for another enjoyable effort. ‘No Regrets’ takes thumping rhythms and pounding drumming alongside the scorching melodic leads with the dexterous thumping rhythms keeping the urgency and up-tempo runs running alongside the dynamic pounding drumming through the solo section and on through the finale for a solid highlight. ‘We Are Chaos’ flows through a series of tight, thunderous rhythms and plenty of churning riff-work with the impressive mid-tempo rhythms keeping this churning along through the pounding drumming and steady melodic flurries along the thumping rhythms of the final half for another highly enjoyable effort. Finally, album-closer ‘It All Disappeared’ takes thumping rhythms and blasting drumming full of pounding rhythms with the dynamic melodies churning along through the steady series of thumping rhythms while taking the melodic lead along through the swirling solo section and keeping the rousing melodies throughout the finale for a great lasting impression.
While it doesn’t necessarily reinvent the wheel when it comes to the rather healthy and vibrant melodic death metal scene, there’s enough firepower and melodic tendencies on display to definitely make this not only a growing contender in the scene to come but also a hard-hitting act that should appeal to those with more traditional flavorings to ease into very nicely.
Artist: Valgaldr
Release Title: Østenfor sol
Year: 2015
Label: Fallen-Angels Productions
Genre: Black Metal
Tracklisting:
1.Tusen steiner
2.Et slott i skogen
3.Taakenatt
4.Aske til aske
5.Vargnatt
6.Over fjellheimen
7.Slagmark
8.Begravelsesferd
The debut effort from Norwegian black metallers Valgaldr offers a wholly appealing if entirely cliche and unoriginal take on traditional Norwegian black metal. It’s all eerily familiar work throughout here, with the brimstone-soaked tremolo pattern riff-work giving this a decidedly strong touch of atmospheric flavor that comes from the old-school style of black metal being played and blastbeat-driven drumming that allows for the utterly dexterous and smooth tempo changes from utterly frantic and chaotic driving rhythms to the more prominent mid-tempo gallops that are featured here which allows the riffing to vary according to those rhythms. The idea even of going with alternating tempos where it features a faster track, then a slower, more mid-tempo one keeps this from really overselling the kind of overexposure it really could’ve come off with. It’s all quite expected to be featured here in these kinds of acts, though that tends to be quite easily overlooked here as this is pulled off with a conviction and energy that’s quite lacking in many similar acts who run through the motions. The songwriting dynamics on display of allowing these pretty lengthy and absorbed tracks to remain consistently enjoyable and engaging with the kind of varied tempo shifts and variations to be found here that makes for a much more enjoyable listen. It’s still pretty cliche, but there’s a lot more to like here which does raise this somewhat.
The first half here makes for a wholly enjoyable start to this one. Opening track ‘Tusen steiner’ opens with rattling up-tempo tremolo riffing and pounding drumming through a dynamic and explosive series of dynamic riffing with the pounding drumming keeping this one blazing along at a steady pace with the sprawling md-tempo patterns thumping along into the finale for a dynamic and enjoyable opener. ‘Et slott i skogen’ uses a sharp swirling mid-tempo pattern with stylish drumming working along a steady pace that keeps the heavy tremolo riff-work continuing along through the sprawling, atmospheric rhythms along the mid-section with the swirling riffing leading into the final half for a decent if unimpressive effort.’ Taakenatt’ features rattling drumming with plenty of swirling tremolo-picked patterns through a frantic series of rhythms keeping the pounding drum-work driving the urgent tempos along with the darkened atmospheres swirling through the riffing leading into the blasting finale for a truly impressive highlight offering. ‘Aske til aske’ uses a dark, swirling series of gloomy riffing slowly plodding along into a fine series of howling rhythm patterns and steady drumming as the sprawling tempo matches the atmospheric tone and overall arrangements leading into the blistering traditional rhythms of the final half for a fine and enjoyable effort.
The second half here is much like the first half. ‘Vargnatt’ takes swirling up-tempo tremolo patterns and a rather steady series of drumming whipping throughout the steady rhythms keeping the rather dynamic and impressive mid-tempo gallop throughout with the steady sprawling rhythms carrying throughout the finale for a decent enough offering. ‘Over fjellheimen’ brings along dynamic swirling tremolo patterns and steady galloping drum-work that blasts away through a strong series of classic tremolo rhythms and full-on speed-driven rhythms as the blasting patterns continue on with the fiery tremolo patterns of the final half for another strong highlight offering. ‘Slagmark’ utilizes blazing drumming among the chaotic tremolo patterns with plenty of tight riffing keeping the buzzing tremolo riffs into the sprawling sections as the mid-tempo riffing slows the energy down with the intense tremolo patterns continuing on in the battering finale for a somewhat decent enough effort. Lastly, ‘Begravelsesferd’ uses a plodding series of swirling tremolo patterns to slowly build into an eerie, atmospheric style of riffing with a droning pace carrying the simple rhythms dripping with the darkened, brimstone-scented riffing with plenty of charging mid-tempo patterns carrying through the final half for a decent if unimpressive lasting impression.
Overall this here is pretty much typical second-wave Norwegian worship that doesn’t really bring anything new to the genre but offers such a welcoming and enjoyable listening experience that there’s plenty of fun to be had from this regardless of originality and makes for a stand-out release for stalwart aficionados of the scene or Norwegian black metal in general.
Artist: Dauden (Nor)
Release Title: My Soul Will Be Damned Forever
Year: 2015
Label: Self-Released/Independent
Genre: Black Metal
Tracklisting:
1.My Soul Will Be Damned Forever
2.Akem Manah
3.With No Presence of God
4.God Did Not Create Us
5.Suicidal Seduction
6.Where Light Touches None
7.The Sign of the Goat
The debut full-length from the Norwegian black metal group Dauden is a strong and enjoyable if not very original take on classic second-wave Norwegian black metal. It’s pretty much paint-by-numbers style work throughout here, with the brimstone-soaked tremolo pattern riff-work giving this a decidedly strong touch of atmospheric flavor that comes from the old-school style of black metal played in that original grouping, blastbeat-driven drumming that allows for the utterly dexterous and smooth tempo changes from utterly frantic and chaotic driving rhythms to the more prominent mid-tempo gallops that are featured here which allows the riffing to vary according to those rhythms, it’s all quite expected to be featured here in these kinds of acts and really isn’t all that innovative. That, though, tends to be quite easily overlooked here with the simple fact that the band's history has allowed them to pull off this kind of material with a conviction and energy that’s quite lacking in many similar acts who run through the motions. The songwriting dynamics on display of allowing these pretty lengthy and absorbed tracks to remain consistently enjoyable and engaging with the kind of varied tempo shifts and variations to be found here that makes for a much more enjoyable listen. It’s still pretty cliche, but there’s a lot more to like here which does raise this somewhat.
The first half here is a very strong indicator of what’s to be expected here. Opening with the title track that takes a straightforward intense series of buzzing tremolo-picked patterns and plenty of blasting drumming with dexterous strikes running along at a steady frantic pace with plenty of furious up-tempo tremolo-picked patterns carrying the steady rhythms along into the final half for a stellar opening track. ‘Akem Manah’ uses clattering drumming and buzzing tremolo patterns with plenty of frenetic drumming with the tight swirling tremolo rhythms carrying the blasting up-tempo paces along with a few minor melodic flurries from the riff-work that drops off for the charging finale for another strong, enjoyable offering. ‘With No Presence of God’ features a steady, plodding mid-tempo intro with sprawling tremolo patterns that turns into a steady series of thumping patterns with the furious charge through the mid-section featuring plenty of frantic blasting alongside intense buzzing tremolo riff-work leading through the sprawling final half to make this a stylish and enjoyable epic. ‘God Did Not Create Us’ takes a steady mid-tempo gallop with the frantic tremolo riffing and plenty of tight, blasting drumming taking the far more chaotic rhythms and stellar riffing through the sprawling mid-tempo sections as the blazing tremolo-picked rhythms continue on through the thumping finale to give this a strong highlight offering.
The second half here is another strong set of songs that does feel a little short being that they’re all epics. ‘Suicidal Seduction’ blasts through intense drumming and frantic swirling rhythms continually blaring throughout the thumping, driving rhythms led by the frantic swirling riff-work alongside the full-on blasting drumming taking the sprawling melodies into the charging tremolo riffing in the final half for another strong track if it comes off just a bit too long with the extended.finale. ‘Where Light Touches None’ takes an immediate series of swirling tremolo patterns amidst blasting drum-work and a sharp series of rhythm changes that blasts out into frantic up-tempo gallops and charging mid-tempo driving rhythms with plenty of sprawling riff-work and melodic, celestial keyboards providing ambience leading back through the sprawling tremolo patterns in the finale for a much more enjoyable epic. Finally, ‘The Sign of the Goat’ features a strong, plodding series of riffing and steady drumming as the mid-tempo rhythms and sluggish paces give way to more frantic patterns with the choppy drumming and swirling tremolo patterns still keeping the droning patterns on throughout the final half for the album’s lone dud and a pretty underwhelming final impression.
Though this one does tend to play by the rules way too often and doesn’t really bring anything new to the table that dozens of other old-school-worshipping bands are providing, they’re still one of the more fun acts here with the conviction and fun they generate which tends to make this an easy recommend to those looking for another enjoyable effort from that whole scene.
The debut full-length release from Norwegian black/thrashers Wendigo brings about an utterly fun take on the style that offers plenty of enjoyable moments about it. Based more on the kind of simplistic, stripped-down punk-style rhythms over the blasting drumming that rumbles along at a frantic tempo, the biggest factor here with this one is the more prominent bass-lines that are at the forefront of the band's sound which certainly makes for a louder, heavier style series of rhythms to be found here which is far more of a dirty, punk-rock style sound that meshes so well with those ravenous thrashing riffs. While these elements make for an utterly explosive mixture when played at their upper tempos, which thankfully is far more prominent, the more simplistic mid-tempo efforts come off far lower in terms of working through the slower end of their sound as there’s some more enjoyment found in their upper-tempos. Along with these strong elements, there’s some nice fun to be had from the experimentations found in the second half where they manage to incorporate a bit of keyboard prominence into the rhythms which tends to give this a kind of horror-film ambience that nicely mixes with their dirty riffing and subject matter which is a rather odd mix that doesn’t really seem to mesh well with their more rocking style. It’s a nice attempt at variation and there’s some decent moments at work, but there’s far more to like elsewhere here.
The first half here certainly starts this off on a fine note. Opener ‘Gore Infested Basement’ uses furious thrashing riff-work and pounding drumming rocking along at a frantic tempo with a driving intensity throughout the full-throttle pace with the utterly dexterous bass-lines rumbling along with plenty of frantic tremolo leads alongside the blaring bass-lines pulsating into the raging final half for an utterly infectious opener here. The droning epic ‘Cannibal Ritual’ features a rocking mid-tempo charge with blaring bass-lines thumping along to the simple approach with the rocking, single-minded riffing carrying along with plenty of tight riffing offering stellar mid-tempo paces along through the droning chanting and sprawling patterns found in the keyboard-led final half for an altogether-enjoyable if a slight letdown from from the previous effort. ‘The Anthropophagist’ blasts through a frantic mid-tempo charge with plenty of blaring bass-tones alongside the tight, thumping drumming carrying the frantic riff-work through the series of swirling riff-work and tight, blaring rhythms along the mid-tempo finale which makes for a fine overall effort. ‘Serpent Master’ opens with tight, raging riff-work and frantic rhythms with plenty of blaring drumming and plenty of furious thumping bass-lines taking the charging riff-work into rather furious tempos with the frantic patterns dropping off into a tight mid-tempo burst through the final half for another stellar offering on display. ‘Wendigo Psychosis’ takes a rocking up-tempo drum-beat and dynamic blaring bass-lines with the thumping riff-work carrying the simplistic rhythms along through the rocking series of up-tempo paces full of wholly dynamic and pounding drumming blaring through the extended finale for a rather frantic and enjoyable track.
Though slightly experimental in nature, the second half still feels quite cohesive with the upper half. ‘Fear (Is Big Business)’ uses a cinematic-style haunting keyboard riff over a simple, charging series of riffs with plenty of swirling riffing and plodding drumming slowly lurch through pounding rhythms and a furious blast of feral energy through the scorching riff-work augmented by ethereal cinematic keyboards throughout the final half for another absolutely stand-out highlight. ‘Human Flesh’ utilizes frenetic riffing alongside plenty of simple, rocking drumming that features a rather energetic mid-tempo pace as the swirling rhythms carry the simple melodies along with the haunting keyboards into the rocking finale for a rather needless throwaway track. ‘Live Lobotomy’ offers up more atmospheric keyboard melodies slowly through the simple, chugging rhythms with plenty of simple thumping drumming alongside the rumbling bass-lines with the atmospheric keyboards effectively drawing the atmosphere along into the final half for a fine if unspectacular effort. Album-closing instrumental ‘Ending’ takes a strong, classical piano melody with plenty of cinematic soundscapes through a simple tone offering a fine ending note for this to go out on.
While there’s a lot to really like here, it ultimately works a little too many obscure ideas into this one that does hold it back with all the seemingly contradictory elements at play, and even though this is a debut which deserves a few breaks due to them not having found their sound yet it really serves itself well enough to be worthwhile of fans to that genre of dirty rocking black/thrash.
