Cimmerian Shade Recordings, 27.01.17
Not all metal works optimally if you are tired or stressed out, or got some good old-fashioned hangover headache.
I found this promo in the mailbox an early Saturday morning, just around one o'clock. I was sceptical toward the music
in the first place, as it's not quite my style, but I ended up listening to it for over half an hour. Unusually long
just in order to check out a promo, so I decided to give it a quick presentation.
Ever Circling Wolves from Helsinki, Suomi Perkele, was formed ten years ago. The band has an album and
three shorter releases behind them, including an EP with longer title than playtime. If you consider Of Woe or:
How I Learned to Stop Worrying and Love the Gloom to be a long title, try Chapter III: In Which the
Protagonist Finds Himself at the Bottom of the Ocean as well as in a Petrified Forest on for size.
The band plays music that is quiet, subdued and mournful like doom, but with an underlying nerve of discontent and resentment.
The music can be said to lie in the borderland between doom and death/doom, with a hint of black edges. The music's mood has
an air of resignation, and as the title suggest, they've given up, and instead tries to look at the bright side of the ever
surrounding darkness. The music has some sequences with more thrust, without becoming very intense, but it's mostly stripped
down and mild. It also got a muted proggy touch of jazz, but more as influences than as musical style.
Of Woe... offers peaceful, comfortable and soaring atmosphere, packed with dismal moods through 66 minutes.
Not entirely my thing, but at the right moment it works fine as the band does a good job.
Purely objectively, I'd say the album can probably be characterized as good.
The French extreme-metal mongers of AcoD released this
three-track EP at the end of their ten-year anniversary last year.
The quintet has three albums and another EP behind them, without my radar picking up the band.
During eleven minutes, the guys find an outlet for their aggression by burning of three evenly long songs characterized
by fiery indignation. The music contains a bit of all three major extreme metal genres, but the thrash segments are the
goes straight for the throat with fairly hasty aggression and tough riffing, before an evocative and quite
mighty middle section gives a break. And Darkness Around continue with fierce rhythms and rasping
irritable vocals. The middle of the song becomes rather melodic before a new atmospheric sequence containing a symphonic
sensation comes along. Black Creed offers dark mood initially, before the stallions trotter off toward a more industrial interludes
with cautious and careful undertones of techno. The EP ends melodic and modestly symphonic.
The compositions are not exceptionally exciting, but the way different ingredients are incorporated and the songs are
structured, still makes Inner Light an interesting treat from a band I'll make sure to jot down.
As with the album II The Maelstrom, released scarcely one and a half years ago, this EP was recorded
with Shawter from Dagoba as sound engineer. Both bands dwells in Marseille, on the southern side of
the country, with coastline to the Mediterranean. I suddenly feel like going on vacation.
Lavadome Productions, 31.01.17
The fact that this is a re-release of an album originally released in 2015 gives me a valid and golden excuse to present
it as an Impression, thus saving a bit of time.
Preciously little is revealed by cover art and title, so let's start of by shedding some light on Sacrosanct.
Atonal death metal is what you're at risk of exposure to. Do consider wearing ear protection. Epoch is a Belgian one-man band, and Sacrosanct is so far the only release.
That is, R.P. (Omega Centauri, Sanctus Nex) have moved to Stockholm.
The music is a sledgehammer of hostile repulsion to the nasal root of the unsuspecting listener. The music is barbaric
and seemingly fairly chaotic, but it still isn't an aimless cacophony of noise. The guitars are razor blades being
swung uncontrollably like a chain mace in the listener's intimate airspace. The technical competency reveals a hint
of technicality, without crossing any borders regarding genre. We still move close to the border of a form of discordant
technical death metal when it comes to instrumentation.
It's the dissonance of the guitar that forms the core of the band's expression. The sonic torture receive air support
from the battery that carpet bombs the listener, while the commander is using dirty methods in his interrogation of
hostages. He roars and growls in a cruel manner and is generally rather obscene. Constant variation creates alright
substance, and the sound is just as full of force as the music is nefarious.
If a 38 minutes long sonic nightmare sounds enticing, it's quite possible Sacrosanct will appeal to you.
The album was released digitally only at the end of February 2015, and is now being re-released on CD.
Ván Records, 27.01.17
450 years ago, the Dutch War of Independence started. Commonly named by its duration, it's probably better known as the
Eighty Years' War. The war was a revolt against the Spanish overlordship and the inquisition. At the time, the regions
of Friesland and Gelderland stood together, shoulder to shoulder.
The time has come to fight side by side once again.
We've met Wederganger before, but Kjeld, who beats them by ten years of service,
unfortunately haven't been presented here before.
We begin, as the spilt, with Kjeld.
The band has been around since 2003 and released their first album in 2015. I actually tried to obtain a promo, for my
impression after hearing Skym on-line was that it consisted of solid, resolute black metal. The 17 minutes
the band delivers on this occasion, however, is not quite as hard around the edges. It all feels more stripped and
amputated, and the seething black disgust the band exhibited back then gleams with its absence. The music still ain't
bad. It has a somewhat more melancholic atmospheric touch that just ain't equally pitch black. Thus I become
fairly disappointed despite three decent but far from outstanding songs. At its best, it almost hints at good old
Kampfar-magic at the very start of the song Wanskepsel. However, the moment soon passes.
Can our friends in Wederganger bring my groove back?
The band delivered a reasonably good record with Halfvergaan Ontwaakt. These guys don't reel of true black as coal
metal either, but I wasn't expecting that anyway. I have admittedly not praised them boundlessly on previous occasion,
but the band has shown a nerve in the form of fairly distinct moods and strong identity, although they are somewhat
reminiscent of Hamferð.
The band's 14 minutes in the spotlight on this split has a bit more savagery than expected, and I feared that the band
would end up in limbo between jet black metal and the atmospheric offspring, but the band master the balance in their own
distinct way by incorporating strong moods of emptiness. The two songs are admittedly not impeccable, but I don't hesitate
to call them rather good. Surely, my mood is recovering.
Behind a stylish cover, we uncover music from two occasionally good bands that all-in-all don't behave entirely
optimal here. Especially Kjeld, who apparently have delivered very good previously, disappoints. This
split is okay, but far from mandatory. At least it gives me a long-awaited opportunity to tell you to go check out
Skym if traditional sulphur and hellfire appeals to you. If you prefer something more sore and evocative, check
out Halfvergaan Ontwaakt.