Elysian Blaze - Blood Geometry

Another double album and one I have been anticipating for years. Elysian Blaze's new album 'Blood Geometry' is one of those albums that has been about six years in the making. Maybe it was due to their label closing down and that's why it has taken till now to finally come out, but I was beginning to think this album would never see the light of day. Thankfully Osmose Productions picked this album which probably turned out to be a win for Mutatiis in the end.

What you get here is an album that envisions chaos, destruction, but with a sound that feels a bit condensed to make you think that you are in a temple so dark that you can't see the stone walls and ceilings caving in slowly before rushing in. You can only feel yourself being crushed. The sound of these riffs is just that, noisy thuds slowly belting into walls before they can cause everything to rumble, fall and crash quickly to a hill of rubble. Sometimes tremolo riffs will simmer in the background and come off like dirt and dust spilling down the hill of rubble. But the riffs can even become sorrowful (midway in 'Sigils That Beckon Death' for example), which reflects the sad side to all the devastation taking place.

The interesting thing though is that the cold and chilling piano and synth work on this opus feel as though they are orchestrating this disaster. When the chaos comes in, it is the piano and synths that stand out the most and when the quiet moments arrive, they provide the soundtrack for the view from above that slowly pans over the landscape of destruction. It sounds so dark and haunting and a touch of evil sprinkles from the notes being played.

Just when you think the night will finally become quiet, the chaos returns and all the other temples standing around this area begin to crumble to a million pieces as well, one by one. And again, it is the sprinkling notes of the piano that command this chaos. Sometimes a haunting choir will join in and provide that extra bit of power to force everything to crash down. So eerie.

Mutatiis voice works well in the way that it can feel as though he is playing different roles in this horror. The soft harsh whispers that hang in the background at times remind me of the injured crying for help under the rubble. The harsh yells are the hooded rebellious men who stand on the hills in the distance, cheering proudly and with strong emotion as they watch these temples collapse. Now they can finally build the perfect kingdom where they can worship their dark lords and perform their dark rituals without being bothered by those who believe in fake gods.

'Levitating The Carnal' was like steam slowly rising from heated blood that was oozing down an altar. The blood was then doused on the walls and left there till the stench was strong enough that it had to be taken down. 'Blood Geometry' is the moment when this structure is brought down, but not peacefully. And this wasn't orchestrated by people either, this is a mystery. Perhaps demons, or ghosts, or reapers were involved.

History shows that when new kingdoms form and worship changes hands, it is rarely done peacefully. The two hour long journey of 'Blood Geometry' may be that album to show us the day that true darkness finally takes over the world, only we wont be sleeping under newspaper blankets and eating scraps. We might be wandering the sands and fields, building new kingdoms after the bloodshed from the take over and worshiping the stars and the moon by lighting an enormous bonfire hoping the flames may reach them. Turn your lights out, lay down and let this black ritual haunt you throughout the night. One of the most darkest and haunting black metal albums in years.

Ikil

Baroness - Yellow & Green

Double albums are always going to be a challenging task, especially when you only have a couple of albums done prior and especially when you are going to 'change' your style. Baroness has taken what I see is a big 'risk' with the new album 'Yellow & Green'. Does the change in style and the double album pay off? I will talk about that at the end.

I always felt as though Baroness was living in the shadows of Mastodon. They always tend to get comparisons to them but I for one have never found them to be complete clones. It is interesting though and probably coincidence that they would take a more 'mainstream' approach to their sound right of the back of Mastodon's 'The Hunter' last year which took a more mainstream direction as well. Again, I will revisit this topic at the end.

'Yellow & Green' is much softer than what 'Red Album' and 'Blue Record' are. Even the heavy moments on this album don't have that edge they had before, but it isn't meant to. Instead the songs are laced more with catchy and memorable melodies, reminding me of post rock and a more hard rock side. 'Yellow' reminds me of a soundtrack to autumn, driving through a road along the woods where the yellow leaves, that have fallen from the now leafless trees, have formed mounds and they have all lined up along the road.

What the softer side does is it gives these melodies a chance to settle in my mind more thanks to the effects and just being so enjoyable. The soft side lets the bass play a more prominent role and at times it feels like it is the lead point on songs like 'Little Things' and 'Cocainium' for example, which I pay a lot of attention too considering how much I like the melodies. The heavier side even lets you take in the fuzz more and the buzz of solos doesn't feel as awkward as they did on 'Blue Record'.

I don't find a bad song here either and I must say, They are all memorable and all have their 'moments' and I am enjoying these songs more than their on previous works. Sure, it might seem that way because of this change in style but that is not the case. These aren't pop songs.

'Green' brings to mind when spring has arrived. Yes, we skipped winter but it isn't needed here. 'Green Theme' has probably the heaviest moment on the album and just feels like the grass has become green again on the hills and the trees have sprouted and become glorious and full of green leaves again. The main difference I pick up between 'Yellow' and 'Green' is 'Green' tends to play around with the electronics and effects more and it is done well. I dig that slight echo effect of 'Mtns. (The Crown & Anchor)', feels old. The songs are also slower in tempo and I'd even go as saying they are softer than 'Yellow'. I even get a more lifting feel on 'Green' than 'Yellow'. The energy in 'Green Theme' and 'Board Up The House' help that.

Again, I like all the songs. Everything from the riffs, lyrics, it is all catchy and memorable. The bass again plays a great role in leading your interest to it given how cool the guitar melodies are. Overall, 'Yellow' sticks in my mind more and probably the easier to take in. 'Green' takes time and does need to grow on you because of the experimentation with the electronic elements. Now that it has, it is excellent.

A softer side might make one think that the distinct passion and feel in Baroness might have changed or be lost here. That passion and feel is still here. Just hear the energy in John's voice when he throws it forward in a song like 'Psalms Alive', 'The Line Between' or 'Eula' for example. At times calm and mellow and other times lifting the energy in the voice with great emotion. The times when the dual vocals come in only drives that passion further. And with plenty of catchy lyrics, you might want to join in on the chorus too.

So does all this pay off? Oh yeah! This will surely take Baroness to new heights. Their fan base will grow (and deservedly so) and that will definitely go beyond the metal scene where the core of their fan base is. Don't be surprised if a major label picks them up too. Heck, I wouldn't be surprised if they become more popular than Mastodon. Is this a bad thing? I don't think so. Many of us complain about what dominates the mainstream music area and how our favourite heavy musicians don't get the full acknowledgment they deserve. Baroness can be one of those bands that show how heavy bands can write more 'accessible' music just as well without the pressure of big record execs. Remember, Baroness is still on Relapse so there is no 'selling out' going on here as one may suggest. No doubt this album will bring out the fans who like Baroness for their music and not for their heaviness.

In the end, how I feel about this album is definitely summed up here. This is the best thing they have done so far and this will be one of my albums of the year. Not much more can be said.

Ikil

Ihsahn - Eremita

I'd say the biggest highlight of my first trip overseas two years ago was getting to see Ihsahn play the Inferno Festival in Norway. My favourite musician would put on the best musical performance of the festival (most entertaining went to Mayhem hehe) and even more cement his place, for me, as being the most accomplished musician to come out of the black metal scene. 'Eremita' is the new album from Ihsahn and yet again another outstanding showcase of Ihsahn's talents.

Again, like the other Ihsahn albums, the guitar playing is that distinct technical style I have always enjoyed about the music Ihsahn has been involved in. Whether it be a shredding tremolo riff hovering in the background of a song or those sweeping technical ones twisting and turning before the subtle harmonic comes out of no where. The acoustic melodies that twinkle and sprinkle like dust from the ceiling in a dark room. Ihsahn knows exactly how to execute the perfect balance between technical riffing or just pulling off a really good catchy riff that is really effective. Look at a song like 'Introspection' for example. Nothing ever seems out of place.

Even the different atmospheres he can convey. A melancholy acoustic melody that can emerge into an evil lead break or tip toe like melody. A soothing harmony in his clean voice that breaks out into his necro Starscream like shriek. He hasn't lost his touch anywhere. The almost nine minute long epic 'The Eagle And The Snake' which encompasses all those atmospheres as well as the demented buzz of Jorgen Munkeby's saxophone, which again returns to the fray throughout the album. The bass work even comes off as disjointed from time to time. Think of 'Catharsis' where the bass line plods around like a confused soul scampering around a dark room.

The synth work doesn't appear to stand out as much this time around but it really takes full course in the song 'Something Out There' where it battles out with the disjointed soaring riffs. Reminds me of Emperor a lot in these moments with how chaotic it can be at times. 'Grief' is also some chilling work.

I have to make mention of 'The Grave' with its doom like opening and where Ihsahn's voice is the most torturous yet. The saxophone is just mental. The snares, toms and cymbals all shiver. The gigantic steps of the bass like a giant black boot marking its prints on the mud covered concrete. Also the twisted 'Departure' that opens sombre like and then snapping  and having a mental breakdown before calming down.

Perhaps, overall, I see this album as a journey into the many different feelings we experience in our life time. Sure, the positive ones might be missing a lot here somewhat, but Ihsahn has again represented the others wonderfully here. He again is a step above the rest. For all the jabs you read about black metal, is there any other genre that has evolved so incredibly like it has thanks to amazing musicians like this man?

Ikil

Pallbearer - Sorrow And Extinction

Pallbearer's first full length 'Sorrow And Extinction' is perhaps the most sorrowful album I have come across this year. One that breeds pure sadness, breathes one final breath after being drained of everything they once had and wanders alone on an exhausting journey through a black tunnel to the afterlife.

A concluding paragraph to open these thoughts on the album. But a conclusion signifies The End and that is what this album could be based on. Coming to that End, of life, of everything. I am reminded a lot of Katatonia's 'Dance Of December Souls' in the way that it was practically the soundtrack to the darkest of lifes end. The main difference for starters here is that you don't have a tortured and painful voice leading the way. Instead you have the voice of Brett Campbell who simply lets out all his emotional pain and sorrow into every clean word that is sung. The way the notes in his voice shift and carry, thinking of those little lifts or yells in songs like 'Foreigner' and 'Devoid Of Redemption' almost come across like a dying man leading one to think that there might still be some life left in this one even if death is the likely outcome.

Nothing beats music when you can tell the feeling in it and feel with it. The lead work for example, thinking of a song like 'The Legend', building from one lead to twins at the start. How heartbreaking. The crushing bleak riffs slowly prodding along, like that lonely old man who moved from town to town trying to find a sense of belonging, only to find nothing and gave up. Not realizing though that he wasn't alone as the dark clouds were following him from town to town waiting for that breaking point so they could lift him into their grasp. It slowly drains and takes its toll. Even the dark tone in the riffs is gut wrenching, and the rumbling bass doesn't sit well inside either.

At times the riffs may dive deep into a black ocean and you just wonder if this could get any heavier and the tones could be any deeper. The leads mostly feel like a haze in the background of these crushing dives and soars which is great because you can really feel how heavy this is then. When the lead work does become the main focus, it is practically perfect as you just hang on for that moment when the crushing will start again. Just think of 'Given To The Grave'.

And sometimes for other albums as crushing as this can get, the drumming is usually like an implosion and just as heavy. But they don't need to be here on SAE, the riffs do all of that. The drums tend to sit back more and crash steadily. Like the old man is being clouded by second thoughts of if he should just take that plunge into the deep black ocean.

'Dance Of December Souls' is in my top three albums of all time. For me to be thinking of that album when I listen to 'Sorrow And Extinction' is a true indication of where this album sits for me. Extinction means something is gone, but at least you still remember it, and that is sometimes the worst thing. When we remember something that is gone, usually we feel the sadness in remembering when it left us and we didn't want that. Pallbearer has nailed this moment perfectly. Bleakness, sorrow and emotional pain all wrapped into one..

Ikil

Goatwhore - Blood For The Master

I'll admit that I am a little puzzled to what seems to be an ever growing fan base for Goatwhore. Don't get me wrong, it is good to see them finally getting more recognition, and being on Metal Blade, of course they would. Their latest album 'Blood For The Master' should certainly drive their popularity further.

Goatwhore has been pigeon holed amongst death/black metal bands for a few years now, but I have always found them to be more than that. Their first few albums especially always had a subtle crust vibe and even some of the riffs always had subtle doom trudges. As they have become more 'accessible' over the years, those elements seemed to have fallen away. On 'BFTM', I am hearing those elements again. The production still helps it sound 'accessible' to the ears, but who cares. It fucking rocks!

The first few songs rock out and tease with crusty black metal jabs and as the album progresses, things seem to get faster and the riffs become more scathing but can gallop or march out at times and pure black metal enters the fray. Perhaps the nail hammered into that arm has been dragged further up and now the blood is spilling and spitting out profusely. Even for the 'clean' sound, you can still feel the dark sickness, filth and grittiness oozing out of this record.

The dual vocal assault of Sammy and Ben continues to drive an interesting mix in the Goatwhore feel too. Blackened death growls that have a subtle hardcore edge to them which only further adds that, for a band that has a straight forward approach, delivers it to perfection considering all the different elements that linger around. Even the drumming does a good job to mix up the blasting and twirling fills with more rocking out beats.

No song really 'stands out' but that is because I like all the songs and there is plenty of mixture between those styles mentioned above that makes all the songs have an interesting appeal. Something that is firmly placed in black metal but the other styles lightly added in just gives the songs a bit more spice.

Like 'Carving Out The Eyes Of God', this isn't groundbreaking. Just another really solid, good album for a band that whilst being placed in the death/black metal picture, can still throw in their other influences in a subtle way and not sound all over the place. Hopefully Goatwhore can be the catalyst that exposes other bands doing similar (and in some cases better) and soon these other bands might get some more attention also.

Ikil

Nile - At The Gate Of Sethu

I will always hold a special spot for Nile as they were the first band that really opened the world of death metal to me with their album 'In Their Darkened Shrines' 10 years ago. To this day, that album is a sentimental favourite of mine due to its dark atmosphere, brutality and technical musicianship and it still remains the ultimate Nile album for me. 'Those Whom The Gods Detest' did relive some of that past glory for me so I was really keen to get my hands on the new album, 'At The Gate Of Sethu'.

If you know the drill with Nile, it is your usual showcase of heavy and brutal technical musicianship. The hints of tribal flavour still appear ('Slaves Of Xul' and 'Ethno- Musicological Cannibalisms') in the album but overall, it is what you expect. I can't help but always be blown away by those technical spinning riffs that transcend, slow down to dirge and crush. A lot of catchy riffs too, sometimes more memorable than previous albums. There is even the odd moment where the technicality transcends to lift, like a lifeless body being raised to ancient gods in sacrifice. The middle of 'The Gods Who Light Up The Sky At The Gate Of Sethu' is just... 'Wow!'. 

Vocally, I have found them to be more brazen here. The deep brutality still arrives from time to time but I am liking the more barbaric yell. Even some singing/chanting manages to find its way onto this album in the song 'The Fiends Who Come to Steal The Magick of the Deceased'. 'Sing along' moment much? Hehe. It is cool though.

Like the swift changes in the riffing, the drumming also changes gear many times, from the blistering kicks that switch to the blistering fills that sweep through the songs like twisters sweeping through the open deserts and ripping the pyramids apart with them. As usual, Nile make Ancient Egypt seem like the most devastating period of Earth's existence. Were things ever peaceful back then?

Production wise, I am a little unsure. I have always been use to that dark, condensed sound from this band. Dark and condense but so powerful and heavy that you understand why things seemed condensed in the first place. Well on ATGOS, things seem a little flat. Well, I don't think flat is the right word, but it doesn't feel as dark. It is not as condensed either and there for I am not feeling that powerfully brutal atmosphere I found on previous albums.

It is like you sat outside that pyramid for years waiting for that beast to escape from the dark tombs inside that had been on a brutal rampage only for when it does escape outside, you realize it wasn't a rampaging beast, but a crazy mummy. Doesn't seem as evil after all, right? I am not saying this is a bad thing though. Perhaps this 'lighter' atmosphere I find here is Nile trying to show that the violence is now taking to the desert rather than inside the tombs. Perhaps the pyramids have crumbled to the ground meaning the mummys and beasts can only run wild in the open now..

In the end, this is not a bad album at all. It is very good and it is growing on me a lot. It wont be one of my favourite Nile albums, but it is another worthy addition to their ever impressive catalogue. Just how far it may go to being one of my favourite albums this year? Who knows, time may tell. 

Ikil

Lord Mantis - Pervertor

Over the last few years, a few filthy blackened sludge bands have come along that have been very interesting to these ears. Just good albums you can go to every now and thrash out too. Coffinworm and Wolvhammer were filling that spot nicely and now Lord Mantis has entered that list with their latest album 'Pervertor'.

Normally something that sounds clean in production value can't come across so filthy. Well I am glad for this because it has given the instruments more space to move around. The variations in style therefor are much clearer and easier to take in, but still maintain that dirty, filthy edge. Take the more melodic side of 'Levia' or the pounding build up of 'Ritual Killer'.

I like how the riffs and drumming mix it up a little bit too. This isn't the typical rock the fuck out album you might think it is. Sometimes the songs will turn a bit and become a little disjointed (EG: 'At The Mouth'). I like this as it gives the album a twisted and demented side. Add the psychotic blackened vocals and deep throttling bass and that just makes things even more mentally unstable.

The faster paced, more jabbing songs like 'Pervertor Of The Will' and 'Septichrist' come across like someone having a bit of a psychotic break out and then frantically pacing around in all different directions when a song like 'Vile Divinity' kicks in and their head is spinning. Finally, they mellow down and become sedated whilst still being in deep dark thoughts when a song like 'Levia' comes in. Then the psychotic flip out has caused your brain to turn to mush. Yes, the soundtrack to an unstable soul that is ready to rot away.

And with that, you have just enough differences on this twisted effort to do justice for its seven songs at a little over 45 minutes. By the time you're done with this, the maggots may have reached your rotted body that that lays across the old and cold wooden floor.

Ikil

Horrendous - The Chills

There have been some really good death metal albums released this year. Where as I know what to expect from the likes of say Cannibal Corpse and Asphyx which have released good albums this year, it is the more 'unknown' ones that are taking me by surprise, one of which is Horrendous, with their debut album 'The Chills', which is a great display of raw force and chaos.

After the opening minutes of atmospheric lead work and synths in 'The Womb' which makes me think I am about to listen to an old black metal album you haven't heard before, suddenly the heavy work slams in and the lead riff I heard from the start begins to cut through like a rusty buzzsaw. I like how the lead work can alternate between a ringing echo at the front or just shred in the background which sometimes makes the playing come off disjointed when it isn't really trying to be. The tearing up riffs combined with the lead work bring a feeling of a cross between old school American death metal and Swedish death metal. Even the tone of the riffs have that balance.

This is helped by the drumming which for me comes across as the catchiest point on the album. They seem to command which direction the songs will go in terms of if they will blister through in say a Possessed way or just break down and roll along into a more catchier beat, akin to the likes of say Dismember or early Entombed. Songs like 'The Ritual' and 'The Somber (Desolate Winds)' are a perfect showcase of this.

Vocally, it brings more to mind of Swedish death metal the way there is that subtle agony in the growls. There are some moments there where I can really sense the pain in the voice, especially the way lines like 'Fatal Dreams' and 'Ripped To Shreds' are yelled out in their songs. Martin Van Drunen comes to mind quite a bit too but I like how the vocals also step away from that agony element and take on a more deep and rough approach that with a bit of echo to it makes it sound much more open and forceful.

I know what a black hole does but I don't know what the destruction would be like. Maybe this album gives off an idea. It might cause the Earth to shake, fires will break out and the sky will open up and suck everything up with a strong wind to the point that everything will be condensed and disappear into a beam of light. 'The Chills' is one of those death metal albums that portrays Armageddon in daylight, when everyone is awake to witness the end. Killer album.

Ikil

Drudkh - Eternal Turn Of The Wheel

When a friend showed me Drudkh's 'Microcosmos' album leak in 2009 and asked me what I thought, I said I liked it but thought it sounded just like everything else they have done (besides the acoustic 'Songs Of Grief And Solitude'). My friend understood my thoughts but asked the question 'Is that a bad thing though?'. No it isn't really. Think of all the bands we are fans of who have released the same thing over and over again over eight albums. Sometimes playing it safe is the way to go.

That is not to say Drudkh has been doing that completely. I mean, 'Handful Of Stars' did have a bit of a 'shoegaze' vibe to it which made things a little more interesting. Their latest album, 'Eternal Turn Of The Wheel' continues that trend a bit too, but I feel that is more due to the atmosphere or tone than anything else. There are other elements in this album that I am picking up and liking.

I found earlier Drudkh albums to have a much thicker and heavier tone in the riffs. What I find with 'ETofW' is a much colder tone. It feels like this is more suited to listening to at night than in the day (the cricket noises in 'When Gods Leave Their Emerald Halls (August)' helps paint that mood). Even if you pan over their albums from start to finish, I feel like the first ones are suited to the day and the later ones suited to the night.

I like the way the layered riffs speed through in the songs. They feel like they would be in perfect time with a frosty wind rushing through a forest on a cold winters night. And for all the Burzum comparisons you read about bands these days, this is one of the very few albums where I could actually compare this to Burzum. A lot of this reminds me of 'Hvis Lyset Tar Oss', except the synths are just a little more subtle on 'ETofW'.

Where that tends to be the method of play throughout the album, 'Night Woven Of Snow, Winds and Grey-Haired Stars (December)' teases a different approach at the start with a slower tempo with a plodding bass leading the way, but this is short lived when the windy riffs return before slowing and softening down at the end when they let the winds lead away. More of this on the album would have made the album even better.

Everything else is what I expect from Drudkh. I have always liked the throatier raw vocals and that is the same here. They also know how to not over do it with time length too which like the rest of their albums, makes for a fitting listen.

I just wonder though why they haven't tried to broaden their horizons just a little bit more. They have thrown a few interesting 'twists' over their albums ('Blood In Our Wells' especially) to show that they would definitely make it work whilst still remaining true to their sound. After nine albums though, I don't think that will be happening any time soon.

Ikil

Psycroptic - The Inherited Repression

Psycroptic released a pearler of an album in 2008. ‘Ob(servant)’ was a true smack in the face to anyone (including me) who thought they would never release an amazing album again. One would have wondered again if these guys were back to being on the verge of ‘World Domination’ as Uraniummusic.com put it back in early 2005. For these ears at least, ‘The Inherited Repression’ was going to have to do something really special to top ‘Ob(servant)’.

Well again, it is a showcase of excellent technical musicianship. I mean, I can’t think of too many other bands that spit out what feels like a zillion twists and turns in a matter of seconds before grooving out sensationally. Joe Haley’s guitar work is just ridiculous. Every melodic riff that he creates is virtually a shred. The way he weaves all that disjointedness is second to none. Think of it as an old chainsaw that keeps playing up and can’t cut straight and finally when it decides to work properly in brief moments, it can saw the most perfect groove with it. The signature grooves and twisted melodies are there throughout.

Like Joe’s guitar work, Dave Haley’s drumming is always equally as good. Just blistering along with the disjointed whirlwind of melodies before letting the kicks fade back with the grooves but in odd spurts will just break out into more chaotic displays to distract at times from the grooving that takes place. A mechanical beast going crazy, knowing when to calm down and knowing when to just hit you out of nowhere with a spray of a zillion bullets from the machine gun it has hidden behind it’s steel chest.

I find a more hardcore like tone to Jason’s vocals this time around. Here, you will not find any brutal gutturals or bellows, but rather a straining like shout, but with great strength and force behind them. Sometimes you get a quick bite or chomp and other times you get a drawn out yell. By crafting his own style, he has helped take this band beyond being just another tech death band. No wonder these guys are appealing more to a death core base of fans as opposed to the death metal heads they were stunning eight years or more back.

However, after all this, there always has to be a ‘but’. For all the fluttering, all the blistering, all the shifting whirlwinds of disjointed chaos.. Nothing really blows me away. ‘Ob(servant)’ was memorable in every way. From riffs, to songs, to beats to vocals, you name it. So much stood out in every way, shape and form. On ‘The Inherited Repression’, well it’s just ‘there’. Nothing really stands out. Albums like ‘Ob(servant)’ and ‘The Scepter Of The Ancients’ had a perfect balance between grooving riffs and crazy tech melodies where as TIR seems to fall into the same trap ‘Symbols Of Failure’ had where there seemed to be too much focus on the melodies and less grooving. Even Jason’s vocals are missing that brutal variation he had on ‘Ob(servant)’.

I know, as the above paragraphs suggest, I sound like I am blown away. But I am really not. ‘Ob(servant)’ was just that damn fucking good in my book, so good that it even eclipsed ‘The Scepter Of The Ancients’ which seemed for some time there that even that was impossible to top. I guess TIR had a lot to live up to for me. Oh, and on a side note, I wish I could talk about a ridiculous bass line from Cameron. But this chaotic display on every album always overshadows him even though you know he is fucking ridiculous at what he does too. Maybe next time.

As the album cover might symbolize, they do seem a bit short of breath here. But at least the gas mask is on which means it will keep them alive and keep one optimistic that in a few years time they will unleash something out of the ball park yet again. But hey, this is just how I feel. They will garner praise again and understandably and deservedly so. Here, expectations were high, and sometimes when they are high, something great is sometimes not enough.

Ikil

Deathhammer - Onward To The Pits

Where there was some disappointment in the latest Aura Noir album, it has been their fellow Norwegian thrashers Deathhammer and Nekromantheon that have hit the mark surprisingly to these ears this year. Deathhammer's latest 'Onward To The Pits' is the pick of the three and for me, their best work yet.

As the cover suggests, it is as if the thrashing music on this flaming assault was being smothered a little by a layer of fire and smoke thanks to the raw production. It can leave the sound feeling a little inconsistent, but perhaps there is a purpose behind it as it helps the album have a more distinguished edge. I guess fire can change pattern and spread in different ways.

Vocally and lyrically, no words will exactly stand out in the songs, but the raw delivery sounds evil and psychotic, especially when they get more high pitched. Listen to the way those blood curdling screams enter the fray. Chilling, torturous. 'FULLMOON SORCERYYYY!', 'VOODOO RIIIIIITES!'. The fire has engulfed Sergeant Salsten, just listen to him.


I find the drumming to be like a thrashing Darkthrone. Even how it sounds. As if it is coming straight from the pits. Dark thudding from the kicks that makes clumps of ash bounce up in time with the thrashing patterns. Thrashing cymbals and snares that sweep the ash up and spread it over the planes.

Then the way those riffs catch on. Very catchy. At times quick and striking, other times clawing its way through the surface before jabbing away. Like rusty razor blades cutting up through the pits and forcing its way through the fire. The raw production does just enough at times to hold these riffs back which might be a bad thing but I like it because when the riffs do break out through the noise it is if they get ahead of the fire and tame it to prove who has the complete edge. Even those twirling notes in some of the riffs are as if the band are twirling burning stakes.

No song really stands out. It is more the way a shriek or catchy riff or solo can hit you out of nowhere in a song which keeps the interest going throughout the album, which can be a good thing at times compared to an album with a handful of awesome songs which can deceive you into thinking an average album is amazing.

I found Deathhammer's previous album 'Phantom Knights' to be smothered and the lo fi production didn't give the music a chance to really break out. It is nice to see that this has changed a lot on 'Onward To The Pits'. Now I can tell that this weapon has real force.

Ikil

Jess And The Ancient Ones - Jess and the Ancient Ones

This occult rock movement continues to grow. And much stronger it is getting as Jess And The Ancient Ones has brought out a classic debut full length that will sit on the same shelf as the likes of Ghost, The Devil's Blood and many more. This is really fucking awesome stuff!

Enter a room with no lighting. Only candles flickering around to reveal the dark red walls surrounding you. Occult symbols etched into the floor and then the traditional riffs come into play, laced with a psychedelic touch, a soothing husky like voice that soars through and at times will just have enough force and lift, not trying to over do it to give that extra 'wow' factor. Songs that will sometimes be straight forward or sometimes lend a hand to a more progressive vibe with softer beginnings that blossom out into epic bliss. Now the walls and stained glass windows begin to weep..

The lead work is quite captivating. Simple but effective so much. Just listen to the way it virtually has full command of a song like the 10 minute epic 'Sulfur Giants' and combined with Jess's lifting voice in the chorus is truly the most jaw dropping moment on the entire album. There are plenty of moments throughout the album where the twin lead work and solos will come into play or simply just sprinkle and ring out their melodies across the songs. Very catchy and memorable. 'Come Crimson Death'.. Whoa!

The way the keyboards blend in for that psychedelic touch is just magical. Hovering in the background before building up with the riffs and then flashing out beams of light from the candles flickering on the walls. A fine example of an album where all the instruments have their time to shine. They are not overused either, rather joining in at just the right moments (eg: '13th Breath Of The Zodiac'). 

An extra ritual effect thanks to the drumming that at times can seem like the focal point of some of the songs, especially in moments like 'Sulfur Giants' and 'Twilight Witchcraft'. You can also grab moments out of songs like 'Ghost Riders' where it is carrying the lead work on its back and marching out into the cold night.

As for Jess's voice. It isn't one that is filled with varying styles. Just a distinctive tone that knows when to carry a note or lift a note with those occult lyrics at the right moment and when it does, it is perfect and provides many memorable moments throughout the album. I think of the more laid back 'The Devil (In G-minor)' for example, she makes that song sound heavy the way she lifts her voice and soars it along creating twists and turns.

I feel like the only person that wasn't blown away by The Devil's Blood latest album. I just didn't feel it had its memorable moments like the first album. I know it treads into more challenging waters, but the reason I bring them up is Jess And The Ancient Ones has produced a piece of magic that can be seen as quite challenging as well, only this one has become memorable almost instantly where as the former is still taking time. This will definitely make my end of year list. A dimming ritual that is simply superb!

Ikil

Pseudogod - Deathwomb Catechesis

Here is another one of those death metal albums that comes across as a pure moment of total noise terror. An approach that I am really taking a big interest in. Russia's Pseudogod have pretty much done what Embrace Of Thorns did with their latest effort, and that is provide 40 odd minutes of complete dark chaos that will send fear right through you.

This is like a massive wall of fire tearing through a dark cave, smoking out demonic monsters who alight from the cave screaming in flames and brighten up the night sky as they explode out over the ash ridden burning fields. These guitars sound as if they are on fire, burning profusely. With the blistering drumming that sounds like the rocky walls rumbling immensely and caving in as the flames tear through the place, you just know that annihilation is here.

With some faint hints of black metal hazing through the album that sits along death, there is a bit of extra fuel added to flame filled sound and atmosphere. There is the rare moment that you feel as though you are listening to an old school black metal album from years back that just didn't quite make it because this one didn't have the cold vibe that the others presented.

There is no real stand out song but to the bands credit, they vary it up a bit and tend to hold back at some moments in their songs where they dirge more or trudge back and forth and let the faint moments of solos and lead work have their place. It is like the fireball begins to slowly puff out even bigger smokey flames which split up and violently flicker out into all directions. It is what will lead the field above to steam and melt away. Just send everything into ablaze.

The vocals are so deep and dark. Like a beast standing on the highest cliff that is above this burning field and sucking in all the smoke that is rising from this blaze and forcing it all out in total fury as he watches the land melt away right before his own eyes. This is where the sense of brutality comes into this album. So destructive.

Pseudogod has produced another one of those albums that if hell existed, this would have come straight from the depths of it.. Only hell wouldn't even be able to contain this raging fire. Next to this chaotic piece of work, hell is a cold place.

Ikil

Dawnbringer - Into The Lair Of The Sun God

Chris Black has been one of metals hardest working men in the past year with his bands High Spirits, Superchrist and Dawnbringer all having albums come out in the past 12 months (also in Pharaoh). And of all those albums, I am enjoying the latest Dawnbringer album 'Into The Lair Of The Sun God' the most.

To be fair, this is a bit of a challenging listen, which can always be a good thing as the more it grows on me, the better it usually becomes. Maybe, for something that sits more along side traditional metal, things sound a bit too rough which isn't too common these days for such a style. Take Chris's rougher clean vocals for instance. They seem a bit monotonous for something as epic as this album comes across. I wonder if the more high vocals he uses on High Spirits would have added much more effect to the lyrics in these songs. Even more of an epic vibe. I just feel some moments in these songs would have stood out more with a bit more variation. Especially for this concept album that has some pretty powerful lyrics. Those moments where his voice does lift, it just doesn't do enough to really hit you and make you go 'Wow!'. However, the dual, chant like moments help change things up a little more.

Otherwise, gosh, their are some killer songs here. A really good rough sounding mix of traditional metal thrown in with some thrash moments and even touches of hard rock. Take the twin lead work that breaks out on some of the songs and you just think of Iron Maiden in a more grittier way. The last few minutes of 'Perfect Water' is a great showcase of that. Even the way they can break out into moments in the songs where the guitars have their chance to breathe and they open the sky up for the rays of light to appear. It makes some of the songs even more enjoyable when you are just focusing on those riffs (Eg: 'Quiet As A Grave'). This is where the light truly shines and you can see that staircase appearing in the distance, tempting you to come forward and climb up so you can reach the sun.

It is even more interesting when they mix it up a bit, like the punchy and thrashing 'Silence In Waves' or the slow, hard rocking ballad like 'Take A Deep Breath' (favourite song on the album) which is so epic from lead work, to melodies, and lyrics. Great emotion and feel. The most powerful song on the album. And it's here when the beaming rays of light begin to fade out and the dark shadow starts looming over the staircase, forcing you to slowly climb back down.

It is when things tend to trudge more towards the end of the album instead of gallop that I tend to enjoy the album more. You still have those moments where the riffs break out and take complete control and twin leads battle it out, but it is presented differently. You think more of some epic mainstream metal anthem except without the catchy chorus forming with the twin vocal attack. I like it better this way anyhow hehe.

And that is what makes this album a winner for me in the end. That variation in the way the songs are presented and sound. A style as such should normally be straight forward and just cool to rock out to every now and then. But not 'Into The Lair Of The Sun God'. It is one of those diverse albums that one will get it, and one will not. For me though, it took some time, but I got it in the end.

Ikil