Soulseller Records, 13.09.19 Dold Vorde Ens Navn is the name of a new ensemble, located in Oslo and made up of experienced gentlemen.
Vocalist Vicotnik is best known from Dødheimsgard and Ved Buens Ende. Drummer Myrvoll dwell in the same bands, in addition to playing in Nidingr*. Even bassist Cerberus has a relation to Dødheimsgard, as he played on Satanic Art. Guitarist Haavard was part of Satyricon on their first demo, before devoting himself to Ulver.
Together, they play a form of black metal that seems to focus more on the harsh realities of life.
Before the first song Den Ensomme Død (The Lonely Death) gets started, it's not easy to predict the musical direction. When Vicotnik comes in with rather sickly and mentally degraded vocals, one can easily get some slight vibes of former sparring partner Aldrahn's performance in Urarv*. The vocals are not nearly as hysterical and deranged, however.
Through the remaining three songs, titled Drukkenskapens Kirkegård (Cemetery of Drunkenness), Vitnesbyrd (Testimony) and Blodets Hvisken (The Blood's Whisper), one also recognizes a bit of the surreal universe that constitutes Written in Waters. Compared to Ved Buens Ende and Urarv, the music is still far from as avant-garde. It rather leans more towards a dirty, realistic feel that can be difficult to pigeonhole.
Den Ensomme Død has a thrash/punk/rock feel that isn't to be found on the following tracks. Disillusioned wistfulness and unquenchable wrath, make up much of the moods, painted with everything from aggressive riffs and hammering rhythms to mournful passages.
All in all, Dold Vorde Ens Navn, meaning Hidden be Ones Name, spends just over 20 minutes introducing their new, collective identity. An exciting acquaintance characterized by dissociative identity disorder in the dreary asphalt jungle. When everyday life gets too uncomfortable and you need a security blanket, don't trust these manic-depressive nutcases to provide any real consolation.
Friday is the big release day of the week. Yesterday was no exception. Among other releases, I have four short ones on the sketchbook, which I intend to try to plough through today, between reality's unjustified interferences. It's likely go to hell, like everything else. Dawn of Ouroboros is a relatively modern band at the edge of my comfort zone, but I choose to present them real quick, leaving it up to you to decide on the music for yourself.
The quartet is located in San Francisco Bay Area, and the members have experience from a variety of bands, such as Sentient Ignition, Among the Torrent and more. Together they play melodic, progressive metal with elements from death metal and post-black.
This single consists of a single song of almost 9 minutes. The passages that appeal to me most are either where the drums floor it, where the rhythms impresses, or where the guitars excels. There's plenty of such sequences, some of which may remind somewhat of e.g. Wolfheart*.
Unfortunately, there are also sequences that becomes a bit too slick, poppy and post-metallic for me to fully enjoy Sorrow's Eclipse.
PS: I unfortunately have no information about the upcoming full-length of which this single is taken.
Disclaimer: Mini-reviews are impulsive and based on short time spent with the music.
Incorrect impressions may occur. Listen and form your own fucking opinion!
Immortal Frost Productions, 30.08.19
Meet Unmensch, a new antagonistic one-man band from Belgium.
On the debut Scorn, this inhuman soul serves up black metal with soulful moodiness.
Admittedly, his soul needs be tormented in flames for all eternity, according to theological superstition, for the grave sin of thinking for himself.
Theologians' knowledge of anatomy is still feeble.
They haven't realized that a soul without nerves will regard the flames of hell as nothing but cosy lighting.
(Sorry. I have to fill this space with some drivel.)
The black tones of Mr. ZR are characterized by some melody, but not necessarily much more than what's required to create gloomy, cold moods and an atmosphere of melancholy. The importance of variety and structure is not lost on this Belgian. Furious parties and mournful sequences are seamlessly tailored into songs that grow and exhibit longevity.
Among the details on Scorn, we find a moderate contribution of orchestral instruments that create a becoming effect. However, the use of symphonic elements is not exaggerated. As ZR knows to hold back and balance the use of the orchestra to a tasteful level, I hesitate to define Unmensch's black tones as symphonic black metal. In addition, the debutant's sound has a charming feel of the underground, rather than the perfected sound that some of the more symphonic acts make use of, and which some of you refer to as polished.
Despite a negative atmosphere of despair and misery, I'm highly reluctant to call the music dsbm. There's just as much focus on hate (as in Dispensable Souls), evil atmosphere (as in The Path), cunning structures and melody lines (as in The Wolf) with gliding transitions (as in warlike Storm Breaks Loose), or speed and intensity (as in Conquered by Sin). With thoughtful arrangements and memorable riffs, Unmensch is floating in limbo somewhere between some of black metal's different landscapes. The musical direction can in some ways remind me a bit of Zornheim, although Unmensch sounds more raw and primitive.
Perhaps Unmensch will stabilize at this stage, but I wouldn't be surprise if this provider of music with substance would keep further developing in a more technically competent direction.
It's Friday the 13th and the moon is full, so if you've already heard Diabolical Fullmoon Mysticism, Under a Funeral Moon and Freezing Moon, and have received your dose of Moonshine Delirium for this time, why not calm down with some dark, comfortable aversion? Rating: 5