Favourites of 2013

2013 was a year of many albums that I really enjoyed. Again, I will talk about the five albums that I dug the most this year. All in all, there are so many good albums I came across this year so it was really hard even putting a top 20 together. Honorable mentions must go to Gris, Kadavar, The Dillinger Escape Plan, Aosoth, Watain, Ghost, Noctum as well as a few others... anyhow.. my top five!





Orchid - The Mouths Of Madness

In the same year as a new Black Sabbath album, this completely out-Sabbath'd it. Dark atmosphere, catchy groovy tunes, thick bass and great energy in the vocals. Not a bad song on the album. I don't like to keep coming back to Black Sabbath as this is truly its own, but if ever a contender for best Black Sabbath album that Black Sabbath never made, this is it.





Kvelertak - Meir

This was no where near as good as the debut. But that is because the debut album was the most amazing thing ever! So point is, this was still an excellent album. Sticking to more of a rock/black metal/hardcore hybrid this time around and a little 'less daring', 'Meir' still had an abundance of memorable moments and mixes and even at times, could do enough to have an arena filled audience on their feet.





In Solitude - Sister

Easily the bands most mature album to date. Almost heading in a more rock direction than keeping it metal, but the best album they have made so far. Dark, serious, deep and with plenty of emotion and feel in the brooding melodies and vocals. Production may be a bit too muddy at times, but it only adds to bleak atmosphere the album portrays. A lot of Swedish bands surprised me with their direction in 2013, and this was one of the best.





Deafheaven - Sunbather

Only two bands have written the perfect post black metal album, Miserere Luminis, and these guys. A passion on here that merges chaos with beauty. Destructive drumming and riffs that then bleed out into dripping post rock tremolos and melodies. Black metal for the hipster brigade or not, it still is sheer quality. Even the majority of black metal bands from early on who have modernized their sound today have not even come close to as good as this.





Tribulation - The Formulas Of Death

I never would have thought that Tribulation would release an album that would be my favourite of the year. An almost pitch black atmosphere, gloomy melodies that evolve into dirty heavy plods or black metal tinged tremolo break outs. Epic nods that are laced with sorrow but also met with a touch of evil in the blackened harsh voice of Johannes. I keep being reminded of Dissection when I hear this, not because they sound alike, because they sound nothing alike, but more because Dissection was unique in their own right in terms of sound and atmosphere. Tribulation has now carved their own sound and atmosphere and I cannot wait to watch this band evolve further.


Welcome 2014

Ikil

Short Thoughts: Suffocation, Autopsy, Immolation

I thought I would do something a little different this time around and write a few thoughts on a few death metal albums from this year, namely from some big American names in death metal. As I don't get to write these as often anymore, maybe I will continue doing it this way. We'll see. Anyway...




Suffocation - Pinnacle Of  Bedlam

If ever there was an album modern day death metal and deathcore bands should take note of, it is this. The keyword to this album? 'Balance'. A combination of the deep stomping riffs, the technical bursts, the quickfire blasts, yet still taking enough breaths for you to absorb it all in. Not too brutal, not too technical. The key is Suffocation doesn't over do it with any elements here. It slightly hints at the modern day sound, but rather than adapting to the aforementioned styles, they simply show all modern day death metal and deathcore bands how it should be done.





Autopsy - The Headless Ritual

Autopsy's return has been REALLY good! After so long, they have still maintained that production that is a little murky. The rusty riffs and leads continue to tear through, the doom plodding continues to feel like the one taking a step back and glancing in admiration at the gore like scene they just envisioned on a black canvas. It gallops and it paces as Reifert's echoing harsh yells take chilling command. The best thing after all these years is that they still sound like they did in their prime.





Immolation - Kingdom Of Conspiracy

No doubt Immolation these days seem to have taken their brutality to some futuristic realm. Controlled heavy bursts and blistering speeds with moments of just shifting it back with pounding riffs. It feels mechanical and everything timed to perfection as if they each have the same mind chip planted in their brains. My only issue is that the drumming is mixed a bit too high and can really take away from the riffs at times. Otherwise, this is bellowing stuff.


Ikil

Watain - The Wild Hunt

I will admit that for a while there, I found the hype for Watain a little over the top. That wasn't to say I didn't like the music though. They definitely back up their 'black metal theatre' with their music. I was anticipating 'The Wild Hunt' as I could just sense they were ready to try new things. They have and for me, have succeeded in doing it well.

Boasting the usual catchy riffs, echoing tremolo bursts and blasting beats, there are plenty of technical swivels, disjointedness and dark and soaring leads to give the album much more flare. With that comes plenty of epic touches. 'Black Flames March' sounds glorious. The tremolo lead in 'The Child Must Die' sounds piercingly huge! Then comes along the unusual deep and dark ballad 'They Rode On', with its build up, clean vocals and twin leads and heck, Watain just took their 'black metal theatre' to new heights. I for one, welcome it. This moment along with moments in the brooding title track remind me of a more darker Bathory viking era. Which brings me to another point. I really like is E's vocals this time around. Different tones in his harsh moments and the times he sings, it suits this style perfectly. Dark and eerie, nothing over the top.

What Watain has done here is made an album with enough different elements to make this interesting and appealing but also still remain true to their sound. Quite frankly, another album of stripped down stuff would be boring and forgettable and given Watain's appeal, they are obviously about achieving more than that. This is why I am open and appreciative of the new elements brought into their sound. To an extent, I compare this to Tribulation's amazing offering this year, only 'The Wild Hunt' is a little more controlled with the dares.

For me, the top three black metal bands in Sweden right now are Marduk, Shining and Watain, all of which are pushing their music with image too and I don't have an issue with that if the music is still good. Watain may have just become the kings now. A modern day black metal classic? Too early to call. It is destined to grow on these ears more however.

Ikil 

Satyricon - Satyricon

I have come to a point with my music tastes where I learn to appreciate ones change in direction. Some bands (eg: In Flames), I will never learn to appreciate their change in sound because I simply don't like the style (even if it has made them more popular). Satyricon is one of those bands I didn't quite adapt to for a while when they changed but over time, I have found myself appreciating their rock direction a lot more. Having read that they were going to 'change' again, I thought they might be going for a sound I would not like. With their self titled new album, I am very pleased with the end result.

I always like to compare Satyricon's change to Darkthrone's change. Darkthrone rocked their sound a bit more but their sound would appeal more to your thrashing, torn clothed, frizzy haired metal head. Satyricon also rocked their sound up, but their sound would appeal more to your slick back haired, designer label clothing obsessed trendy wearing 'rocker'. Nothing bad about either style, Darkthrone kept it dirty and gritty, Satyricon made clean, modern and too structured. I still prefer Darkthrone, but I will take nothing away from Satyricon in being able to make a cool catchy blackened rock riff either.

Now, onto the album itself. The first thing I take not on is the overall feel of the album. It doesn't sound as clean as 'Age Of Nero' and 'Now, Diabolical', it isn't too structured either and it doesn't feel modern too. Think of this more as going back to the ancient ruins of where 'Nemesis Divina' was set, except all the winds, coldness, violence and fire is gone. It is now desolate, lifeless and still, but the ghost of 'Nemesis Divina' still lurks around.

You will not find a return of tremolo and blazing chord riffs. Things are very much still in the rock presence, only not structured around verse and chorus, but more focused on each song having a main piece or two and surrounded but almost post like breaks which etch a sombre like edge (eg 'Nocturnal Flare'). The melodies may be simple but they are catchy and memorable. I will even go as far as to say that they have more feel behind them than anything on 'The Age Of Nero' and 'Now, Diabolical'. Even a song like 'Our World, It Rumbles Tonight' is perhaps the darkest song they have done since anything on 'Nemesis...' . The work on this album is not as stripped down this time around. With hints of folk and post floating through this journey with the subtle synth, the album has an interesting flow and the more fast, twists like 'Walker Upon The Wind' get lost at times because of how interesting the other songs are.

Satyr's vocals are probably the harshest they have been since their glory days. Frost's drumming still manages to burst out from time to time and still give their sound a little brazen edge. Even the guest appearance of Sivert Høyem on 'Phoenix' is an interesting side but one that I like given its dark and old anthem like approach. Sure, even I would long for a return to the first three albums, but that wont happen, so this will do just fine.

The reality here is that Satyricon appear to have found their balance now between being influenced by the old to evolve their sound from the new. Remember it took even the likes of Enslaved and Darkthrone an attempt or two before finally finding their place on the different sound. They will not return to the past, time to let that be, but I still feel that this album is a big step in the right direction.

Ikil

Gris - À l'âme enflammée, l'äme constellée...

Canada (specifically Quebec) is where a lot of my favourite black metal is coming from these days. From the raw sound, to the cold and dark atmosphere, the 'distance' the members from these bands appear to take from being 'out in the open'. Like parts of the old Norwegian and French scenes live in this scene. Of all these bands, Gris is my favourite. Their new double album 'À l'âme enflammée, l'äme constellée...' is their finest work yet.

This album really shows how much this band has evolved. When I think back to their first album as Niflheim ('Neurasthénie'), that was a lot rawer and rather rugged. In a way, a blueprint for something amazing later on. With that, 'Il Était une Forêt...' was to follow with incredible results. Cold, dark, atmospheric. In parts like Burzum's 'Filosofem' but kept in a freezing forest and more despairing.

'A l'ame...' is more like a combination of their Miserere Luminis collaboration they did with Sombres Forets and the 'Il Etait...' album. A lot of  heavy post rock/metal like moments combined with eerie violin and cello movements that weave with acoustic melodies that are dark and twisted. Add in deep and meandering bass lines, shrilling and cold raw riffs and the ever so painful shrieks of Icare and you have a rather unique mix that hints at beauty even though 90% of this is layered with pain and sorrow.

Production wise, it is much cleaner but that is understandable given the role the violin and cellos play on this album. It feels organic, classical in some ways and listening to the way it all comes together is really interesting to hear. Listen to the way things build up in 'Dim'  or 'Seizième prière' for example. Such a great formation of everything coming together and working. I really like bands that evolve like this. Taking your original sound and making it more interesting and complex.

Miserere Luminis made the perfect post black metal that I had always wanted to hear. Gris has taken it even further. The perfect score for despair. The finest example why Canada has some of the best black metal bands going right now..

Ikil

Burzum - Sôl Austan, Mâni Vestan

So Varg has apparently decided to stop playing metal. Didn't he say that over 10 years ago? Yet he returned with four (including the re-recorded stuff) metal albums. Okay, well this time he decided to make a 'true' Burzum ambient album in 'Sol Austan, Mani Vestan'. I say true because, well, the other two ambient albums were 'restricted'. So I was pretty keen to hear what he would do here because I have always liked his ambient songs.

This time Varg is not confined to a single keyboard or a hard drive full of midi files. He can create the landscape exactly how he wants. At times he is able to re-create the cold mystic haze that reminds me of 'Rundtgåing av den transcendentale egenhetens støtte' (one of my favourite Burzum songs). Other times it is ringing melodies drenched in echoing atmosphere and drifting behind one another.

The best parts are when he combines the hazing synths and the sprinkling melodies and this is where it rivals his best ambient work. Again, there is a lot of repetition in the songs, but as I always find with Burzum, Varg finds a way to keep it interesting. In this sense, it can come off mesmerizing. The album isn't dark, it reminds me a lot of that dusk like feel of 'Umskiptar'. This is the calming presence of spring after a long hard winter. But the eeriness in the tones of the melodies on here somewhat serve as a constant reminder that the hardships faced are not quite over.

The only gripe may be that this album is a little too long, but then there really isn't a bad song on here. Overall, the big take out is that this is Varg once again using his own music to inspire himself to make more music and like the true artist he is, he does what he wants and it is up to the listener to decide if they like it or not and he wont care either way.

'Sôl Austan, Mâni Vestan' is by far Burzum's best ambient album. How the songs on here compare to the ambient work on the likes of 'Filosofem' and 'Hvis Lyset Tar Oss', hmm, some are as good, but I still prefer the cold and darker side of the former. For me, another fine post-prison Burzum album hehe.

Ikil

Csejthe - Reminiscence

Anyone who has been reading my thoughts on the music I have been listening to long enough will know about my big interest in black metal scene out of Quebec, Canada. If you are ever wanting to hear more recent black metal that reminds you of True Norwegian Black Metal and the French black metal scene. This is seriously as close as it gets. Cold, atmospheric, mysterious, dark, raw, noisy and passionate. I can't think of too many black metal bands that embrace all those elements like the early days like the bands from Quebec do. For the moment, lets look at Csejthe new album 'Reminiscence'.

Eerie and intricate tremolo riffs, pacing drum patterns like a noisy freezing wind laced with the monotonous harsh and sometimes clean vocals that feel like a distant call coming from the other side of the dark woods. When not pacing through the woods, they sit back and just let their music wander majestically. Like slowing down and slowly walking through the paths, but still maintaining that cold and distorted heavy sound.

This is just blanketed in cold and dark atmosphere. Like a thick, bleak mist settling through and over the snow covered trees. What adds to this is just how old this feels. This sounds more like 1991-93, not 2013. Even through the sound, you can detect that mysteriousness and that sense of pride in their playing. This isn't all direct in your face with all the corpse paint and spikes going with it. They let the music do the talking. That appears to be the case with most of bands in the Quebec black metal scene. The music is at the forefront, the mystery to who they are themselves is perhaps the image. I like that.

'Reminiscence' is a better album than 'La Mort du Prince Noir'. They still don't have that same appeal to me as say the likes of Gris and Sombres Forets, but this is certainly a big step up. The Quebec scene is constantly growing but at the same time, a lot of them have been breaking up (Utlagr, Sui Caedere, Veneficium). It is only a matter of time until Csejthe is up there with the best of them.

With the release of the new Gris and Sombres Forets albums in the next few weeks, 'Reminiscence' will keep me well occupied till then. A good album from a scene that is currently producing some of the most underrated black metal bands.

Ikil

Black Sabbath - 13

As I did a fair bit of talking about Black Sabbath's '13' in my last blog, it is time I post my true thoughts on the album itself. Like any classic band, new albums are going to be met with the highest of expectations. I come from a town where we expect nothing but the best. If you slip up in the slightest, you will know about it and no one will accept what you do. So in this case, no doubt I have seen enough criticism of this album. Even I have.. But please! Is it THAT bad?

Firstly, this is no 'St Anger'. Leave that to Metallica to make the worst metal album you will ever hear. For my mind, there are a few issues as to why this album is 'below' expectations. To get the first point out. Ozzy's vocals. Who in their right mind thought that his vocal performance was going to be great on this album? You got high hopes, I will give you that. Thanks to auto tuning (I can't believe I said that), his vocals are not as bad as they could have been. That still doesn't mean they are magically amazing. He is still off key at times and it just sounds weird. 'God Is Dead?' That says enough.

All the songs are okay or good. The worst song is 'Zeitgeist' which just comes off like a poor mans 'Planet Caravan'. Then songs like 'End Of The Beginning' and 'God Is Dead?' just drag on way too long. Two slow numbers that do have plenty of cool riffs, but don't need to be eight minutes long if you are just going to repeat them over and over. 'Loner' is when the album really takes off for me. Good song! Rockin' riffs and not over done. Even songs like 'Age Of Reason' and say 'Dear Father', don't drag on given their length because there is more variation in the pace and riffs to keep them interesting.

The only real issue I have with the riffs is they lack that spark from those classic Ozzy era Sabbath albums. Sure, I would prefer hearing those licks, or those deep drone tinged melodies, or that dark buzz in the heavy riffs. Then again, 43 years is a long time between 'Paranoid' and '13', things change. In the end, musically, this sheds more of that 80's or 90's Sabbath era skin, only darker in atmosphere, only one would be expecting Tony Martin to be singing over the top of them instead of Ozzy. But hey, those riffs in 'End Of The Beginning' and 'God Is Dead?' are heavy!

Perhaps the big thing I take out of this, is just how modern this album sounds. When I think of the likes of say, Witchcraft, Orchid, Electric Wizard even, and many others who have used the Sabbath influence in not only their music, but even their production and atmosphere and have emulated it perfectly, it makes sense why many of us would have expected the same with '13'. Ah, a modern sound is the more logical way to go. They have a mainstream appeal, if you just set out to please metal heads, then that probably wont get you too far with everyone else..

Overall, '13' is a solid album. Yes, I have heard plenty of better doom and stoner albums this year if we have to compare because for some reason, we all expected this album to be the pinnacle of all doom albums we have heard and are going to hear for the next 10 to 15 years. Oh well, at least we have others...

Ikil

Orchid - The Mouths of Madness

I read an article a couple of nights ago about five albums that out-Sabbath the new Black Sabbath album. No surprise that Orchid's 'The Mouths of Madness' was one of those albums. If any album is going to remind you of classic Ozzy era Sabbath, this is it.

Firstly, this sounds, this feels like it is 40 years or so, old. Nothing over the top in production anywhere (*cough cough*). Like traveling back in time and visiting a pub and these guys on stage, black walls for the noise to bounce off, fiery torch lights. Not so heavy, but dark, groovy and catchy in every way.

This has the groove, the licks, the pace and the bounce, and with an array of different tempos that make every song unique and memorable. A seven minute song like 'Silent One' or a six minute one like 'Nomad' never gets boring because of these changes, catchy choruses, memorable lyrics and pure energy from Theo's voice which is fantastic throughout the whole album. Now go and listen to '13' and tell me which album you are over listening to after 20 minutes?

In a year when a new Black Sabbath album is out, you would expect them to lead by example or at least come close. Not saying '13' is a dud, but it is certainly worlds below other stoner/doom albums that have been released this year. 'The Mouths of Madness' is at the top of them all. In actual fact, I hate comparing, but you can't help but think about it. So since we are sticking to that theme right now, I am declaring 'The Mouths of Madness' the 'Black Sabbath album of the year'...

Ikil

Portal - Vexovoid

As the construction work going on next door sounds more and more like they are trying to open a gateway to the deep dark depths of hell, let me take this time to introduce them to something that might help them open up the gates a lot faster and easier.. that being Portal's latest album 'Vexovoid'.

I can't think of many bands who can be so down tuned, yet carve out an absolute whirlwind of dark chaos. This is scathing, just drenched in deep and droning distortion and blistering. How low can you go? Seriously. The key here though is the way the songs weave and suddenly twist. Take the windy melodies and out of no where, churn out ridiculous blast beating. The way the riffs tremolo and drone out or the way the drums just lay out their thunderous thuds just sends a sick feeling to the pit of your stomach.

It is almost like you hear and feel a deep ringing noise beneath you, drilling.. burrowing its way so deep to touch the earths core. But with real strain and still enough strength to claw its way to it. Even the strained calls of The Curator just adds to the deep and dark devastation. Enough force to blanket the city in a thunderous storm so destructive that it will have the people mistakenly think that a black hole has arrived to compress the world into a tiny particle.

So, perhaps instead of spending your weeks, months or whatever trying to unearth the world next door. Put this album on and I am pretty certain you will have the job done in 35 minutes. Hmm, I think these noises at either end have compressed my brain because my head hurts now. Time for a break..

Ikil

Aosoth - IV: An Arrow in Heart

A discussion with a friend a few years ago about black metal bands from France made the point of how the french do take it to the extreme. Over the top if you will. Not in a bad way, but just more the point that what ever mood they want to fill their art with, they will make sure it is not only there, but saturate it! Aosoth's new album 'IV: An Arrow in Heart' is one of those moments. Do they saturate this album in darkness and blistering heaviness or what?

I think back to 2004 when Deathspell Omega's album 'Si Monumentum Requires, Circumspice' came out and all the metal zines were raving about it being a black metal classic. At least to these ears, Aosoth has done one better here. It is just as heavy, just as dark, just as organic and fucking evil. The big difference is they change the patterns a bit to set their moments apart. Take the blistering speeds of songs like the title song or 'One With The Prince...' but become overwhelmed by the technical twists or dissonant riffs and slowed down moments. Almost mesmerizing, really capturing you in their darkness. Even at around five minutes on 'One With The Prince...', that moment where the boulder like drums take full control and that riff lifts the floor from under you. Just awesome.

Perhaps angels do exist, but like humanity, there are evil ones too, that lurk in the underground. The raw and deep tones in these crushingly heavy riffs have caused the holy structures to crumble and the path ways to crack open and cave in, which can allow these evil ones to ascend and strangle their way to reclaiming the kingdom in the skies above. Led by the harsh calls of MkM, they will march throughout the Earth and build black Temples to worship their dark one.

After all the chaos that you have heard. Take a moment to reflect with 'Broken Dialogue', with its drones and dark melodic steps. It will not be long though before 'Ritual Marks of Penitence' bellows in for the final piece to slowly grind away at ripping a giant hole into the Earths heart. And thus the end to a very fine black metal album.

When that part of you feels that Deathspell Omega has become a little too 'spaz-tech' or Blut Aus Nord has become a little too 'mechanical', Aosoth is the perfect option to turn to. Black, crushing and still carrying an organic sound. Great work!

Ikil

The Dillinger Escape Plan - One Of Us Is The Killer

There is not much that can be said here, so this might be a pretty short write up. The Dillinger Escape Plan simply is one of the best live bands going right now. By far the most energetic and you don't know what to expect every time you see them live. The new album, 'One Of Us Is The Killer', like all their other albums, has again turned my mindset into mush but still manages to heal it through its amazing ability to craft spastic and punishing music with some of the most amazing pop moments that ignorant pop music fans of today will NEVER hear.

Songs like 'Prancer' and 'When I Lost My Bet' are your typical spastic, stomach twisting, neck breaking, flip out, demented moments that showcases vintage Dillinger, however the disjointed metal denting punches appear to have more raw bite and viciousness since 'Calculating Infinity'. Gotta love the heavy swing in them also. And those clean breaks that are like ants scattering madly all over the place after some little kid kicked their kingdom down and drowned it in red cordial.

But again, the mainstream songs like 'One Of Us Is The Killer', 'Nothings Funny' and 'Paranoid Shields' stand out most for me. Extremely catchy, and that heavy as fuck buzzing riff in the title song. As always, lyrically and the way Greg hits his notes, it is just sheer power. Always a unique feel and passion in his delivery that just elevates him over most. To add further, after all the freak outs from the other songs, these more 'laid back' times are like when the band needs to rest from all the acrobatics. But it works every single time.

Not much more can be said. The format for a Dillinger album has become somewhat predictable, but the key here is that they do this perfect EVERY time. No other band can pull off this technical precision and also be able to pull off songs that in a perfect world, should be giving pop charts a reality check. Killer album, again!

Ikil

Tribulation - The Formulas of Death

One has got to look to the likes of Necrovation and now Tribulation for the way they have evolved from the Swedish Death Metal sound. Sure, it is great that the likes of Entrails, Sorcery and co have returned to keep the legacy alive, but I heard Dismember, Grave, Unleashed and more do it each about 10 times already, so the 'new' feeling is gone. Just hear Tribulation's latest album, 'The Formulas of Death'. So different and refreshing and one of the most unique death metal albums this year.

Think of how Dissection was. Primarily death metal but leaned to the black metal element. Tribulation may not have that cold presence to them, but darkness, the epic touch, the tremolo melodies and leads and that distinct pace is all there. The riffs may not have the cold raw tone, instead a deep and dark shade. They even come up with plenty of cleaner melodies drenched in effect to add a more strange effect.

Many passages take place in structures of these songs. Speeding rhythms to galloping breaks, also slowing it down and even cleaner journeys or just eerie discordance with the lead work. It is very progressive actually. The harsh vocals with the slight echo in Johannes voice is perfect for this also. Shrilled and cold against the dark and murky sound and lyrically so dark and evil. Simply put, Tribulation has stepped away from the brutal, raw and rumbling depths and has taken to the dirty waters smothered by a thick mist.

It is a long listen. 75 minutes at that but worth every minute due to its diversity. This is the type of dark, bleak atmosphere I look for in heavy music. One that is daring, breaking from tradition and with that, Tribulation has found their own place. I remember seeing them in Oslo in 2010 and even then they were flirting a little with new ideas but I didn't think it would be as impressive as this.

This will be one of my albums of the year for sure. If more bands follow this direction led by Tribulation and Necrovation, then I will certainly be all for it!

Ikil

Darkened Nocturn Slaughtercult - Necrovision

Last week I made mention how Darkthrone is still ahead of the rest. That doesn't mean I write off all of todays black metal as I am still a fan of a lot of it. Some just miss that 'magic' that makes the forefathers so good. Darkened Nocturn Slaughtercult is one of those bands that just has something in their sound that puts them a step above most, as the latest album 'Necrovision' shows.

Firstly, no theatrics with the production. It is dark, raw, filthy. Like this was buried in the blackest soil but with enough force in it to lead a sizzling trail through the bleakest of paths. And the first thing I notice is the drums. That hollow rattle from the tom fills, chilling stuff. The puffs from the cymbals, the blistering beats. Simply chaotic!

Onielar is simply demonic. Her vocals have this distinct tone to them. A touch of menace and a vicious scratch. Moments of blood curdling howls that just adds a real sense of terror and evilness. Just hear those moments in 'The Hue Of Night' for instance.

Where the riffs tend to pace most of the time, they swiftly bring in tremolo and lead moments or just more disjointedness to form with the chaotic wall of raw and distorted noise, even done so subtle like at times. It is powerful enough to rip through a dark fog or thick black smoke. And all the changes happen so fast.

Song wise, nothing will come close to the best. But in terms of sound, even riffs and feel, this is one of those that is as close as it can get. It maintains the old school edge and evilness, but with even more chaos behind it than most. All of this still provides plenty of wow moments to show that this band is still consistently good at crafting old school, dark and evil black metal..

Ikil

Bornholm - Inexorable Defiance

Some bands can take an album or two to 'settle in'. A couple of solid albums and then 'BANG!', pull off something fantastic because you tweaked things a little bit and found your 'direction' so to speak. I really get that impression from Bornholm's latest album 'Inexorable Defiance'. This is a band who has found their niche, and it works.

Still black metal, but without the grimness and coldness. This is more like five commanders of a huge viking ship setting sail into the night on an epic journey through thunderous seas to an island where they will one day rule and the lanterns in their castles will be so bright in the night, that they will be seen from space. That is the potential outcome, but lets take this for what it is now.

In a nutshell, loosely base this on pagan metal bands from say.. Finland (at least the ones that are not so cheesy). The difference here is this is serious. This is more like what Nokturnal Mortum has become through 'The Voice Of Steel' only this isn't full of lengthy songs or progressive passages.What I like is that Bornholm doesn't over do things. They time the placings of their instruments perfectly.

Tremolo riffs are there, but they don't smother. A wall of lifting fiery distortions trail along and then a tremolo will swing in from time to time. Take the lead work for instance, the acoustic passages, even the moments of disjointedness in some of the riffs. They don't shove it all down your throat in one go. They find balance and you don't get tired of any of it.

Take the synth work as well. They never make it so evident, more like a distant wave in sync with the riffs. Only in moments do they bring it to the front and just make it sound more epic. The same can be said for the vocals that basis itself on being harsh but still the moments of a clean take to add a bit of diversity and even for me, still adding a more serious and epic touch. Even the drum beats know when to keep it steady and when to flurry.

Think back to albums that breathed the real pagan spirit and place this one there. A piece of the hearts from Bathory's 'Hammerheart' and 'Twilight Of The Gods' but made to their own perfection. Well done and one of the surprises of the year..

Ikil

Darkthrone - The Underground Resistance

The prime example of longevity in black metal, Darkthrone keeps marching on while the rest finished or just have gone quiet. The key for Darkthrone has got to be the reinvention they take with every few albums. Now Darkthrone takes it a step further in a more traditional sense with 'The Underground Resistance'. Once again, they show how it should be done.

The distinct Darkthrone feel is still there of course. The trashy production, the sick and dirty sound in Nocturno Culto's vocals. Those waves of raw distortion and those punchy drum beats. This time, crust is not the backbone, more like an old demo of 80s speed/thrash and heavy metal takes, but so damn good! And as usual, the riffs are in total command. They always know how to write a good catchy riff, simple or not, they always find a way to etch it in your mind. Even repeat the riffs like they do in 'Come Warfare, The Entire Doom' and 'Leave No Cross Unturned' and it never gets boring because it sounds so good.

But even this time, they feel more epic as the songs mentioned above will show you. But take the main melodic riff of 'Valkyrie' for example. I never thought Darkthrone would write a song that would likely have an entire audience humming along if they played live. Those lifting dual leads of 'The Ones You Leave Behind'. Even those echoing and screaming solos just work so well.

I have to say, I am beginning to like the songs that Fenriz does the vocals on more than the Nocturno ones. He just has this distinct feel to his vocals. It is not anything brilliant, but for this sound, it just works. I mean, his vocals on 'Valkyrie' would be laughable if it was anyone else, but he just has this force and absolutely no shame in how he sounds that it just makes the songs cool. I really like them on there and 'Leave No Cross Unturned'.

When you look at the directions Darkthrone take with their sound, it is interesting the way they are evolving. They took their style back 15 years about seven years ago with a more crust approach. Now they are taking their style back around 25 to 30 years  with speed, thrash and traditional metal and still evolving and sounding fresh. All this while a number of black metal bands still try to emulate their sound and style from 20 years ago and don't match up. Yep, Darkthrone still are the True Kings of Norway..

Ikil

Ghost - Infestissumam

When the likes of The Devil's Blood and Ghost came on the scene a few years ago, one thing that caught my attention was their accessible sound. Honestly, if they were from the states and didn't sing about the occult, they would be BIG, plain and simple. Ghost would sign with a major label which was no surprise to me in the end but as discussed with a good friend last night, they have the image that will boost their popularity even further. The perfect package deal. The new album, 'Infestissumam' was certainly going to be an interesting offering just to see how the band would manage their new found stardom.

Well now, after hearing this several times, the evidence is clear. Ghost has gone from seeming like a small cult with 'Opus Eponymous' to a global occult empire with 'Infestissumam'. Hillsong better be careful because their arch nemesis has finally arrived. Just hear 'Year Zero' with its HUGE epic chorus and chanting and you can just imagine Papa Emeritus II lifting the entire stadium as one. It is the rising of something incredible.

'Opus...', as awesome as it is, practically becomes one dimensional compared to this. 'Infestissumam' is as daring as a pop album (yes, I said it.. POP) can get, and hell, does it pay off! Only minor elements of the eerie bounce from 'Opus...' remain here in the forms of 'Per Aspera Ad Inferi', 'Jigolo Har Megiddo' and 'Idolatrine' and 'Depths Of Satan's Eyes'. All great and catchy and even in an eerie way, feeling joyous towards Lucifer. But the real winners of the songs are the ones that meander, but so gloriously.

'Secular Haze' would be the perfect song to brainwash a circus full of clowns, acrobats and lion tamers into joining Ghost's new found gathering. 'Monstrance Clock', with its lifting chorus and endearing soar would lure any fan of real pop music from the 60s into their evil embrace and 'Ghuleh / Zombie Queen'? Well, that just might be the best thing they have ever done. With its hazing synths and eerie leads, it will hypnotize all the housewives while ironing their childrens school clothes with its dark, but beautiful ballad beginning before whisking them away into their dark lair when the pace arrives and the 'The moon is full, and shines an evil blinding light' line comes in.

In the end, this has been brilliantly done. Enough catch and simple song structure to lure the feeble minds to todays pop fan in and enough 'experimentation' in these structures to keep the fans from the beginning (the smart ones) intrigued. This is certain to pay off in an enormous way.

I think back to when I went to a Catholic High School and the ignorant ones referred to heavy metal (more the mainstream ones mind you) as 'Devil Worshiping Music'... Well, here is the New Wave Of 'Devil Worshiping' Music, only there is nothing heavy or metal about this one...

Ikil

Enforcer - Death By Fire

In 2010, Enforcer blew me away with 'Diamonds'. An album full of memorable and catchy riffs, great vocal moments with many memorable lines and each song was classic. Not to mention so reminiscent of the 80s. With such an amazing albums comes great expectation for their latest album, 'Death By Fire'. Again, an impressive effort.

What catches my intention right away with this album is how 'different' it is to 'Diamonds'. It is still Enforcer of course but a much rawer, much speedier version this time around. On 'Diamonds', it was dominated by twin leads and far more melodic. On 'Death By Fire', speeding riffs tends to dominate more (eg: 'Death Rides This Night' and 'Run For Your Life'). That isn't to say the former is missing as songs like 'Take Me Out Of This Nightmare' and 'Silent Hour / The Conjuration' carries that formula. Again, the riffs catch on and the lead work in sync with the bass lines brings classic Maiden to mind at times.

Olof's vocals have more force this time around. 'Diamonds' showed a much more melodic side and much more note carrying. This time the delivery is quick and sharp and the note carrying isn't much of a prime player. The song titles dominate the chorus lines making them even more memorable as well. My favourite moment thought would have to be on 'Sacrificed' where it is a great mix of the two styles.

Production wise, 'Diamonds' was clean. It had to be. It was far more melodic. 'Death By Fire' is raw. 'Diamonds' sounded like a classic album from an 80s band that made it big. 'Death By Fire' has that slight graze in the sound that makes it sound like an underground classic album from the 80s from a band that was too raw and too dark  in atmosphere to make it big. I prefer it this way anyway.

When ever I write about a Swedish band, I always write about how they can capture any sound from any period and make it sound perfect. Of all these bands, Enforcer is leading the way for me. Again, a wonderfully executed album that keeps the past relevant and fresh for all the right reasons. Superb.

Ikil

Kvelertak - Meir

The debut Kvelertak album was out of this world. It really was. It is still one of the best albums I have ever heard, I would even go as far as saying it is in my top 10 albums of all time. Sure, you are reading this and thinking 'bullshit', but this isn't about what others would rate it. This is how I rate. I listened to that album in my car, at home, just about anywhere, every day for about a month. That is how fucking good it is.

Now the follow up, 'Meir', is here. No doubt the expectation is gargantuan and in a way, that is going to hurt this album. I have taken the fair approach here and didn't set my expectations too high, because quite frankly, it would be near impossible to equal or better the debut album. Anyone expecting that, well, you set the bar too high.

To address that matter straight away, well, 'Meir' is no where as good as the debut. It is probably a little over half as good. But consider how BRILLIANT the debut was and that might give you some idea how 'Meir' fits in. It is still an exceptional album, following on from the debut but perhaps not as daring and not as mixing of all the elements from then.

The three core styles from the debut are here on 'Meir', rock, hardcore and those shades of black metal. The small doom/stoner moments of the debut are gone. That is a little disappointing to these ears but there are still enough chops and changes in the songs, plenty of catchy riffs  and melodies and perhaps more shades of black metal this time around that I am still very impressed.

And sure, when I say black metal, I don't mean a feeling of coldness, grimness and so forth. The tremolo riffing (eg: 'Trepan') or blasting (eg: 'Spring fa livet' and 'Snilepisk') brings the black metal to mind, only this is more like laying out a welcome mat to someone curious about black metal. One who stands on the outside of the forest under a sweltering summer sun before stepping into the forest and realizing they have been deceived as they discover it is all really cold, black and grim. I would even say the vocals are much dirtier this time around. Those snarls are sick!

There is still so much energy executed on 'Meir', it is so distinctly done too. Like one huge fist with great strike power. It is fierce! You can really feel the venom in a song like 'Snilepisk' and 'Nekrokosmos' for example. So much tearing away at things. What Kvelertak also manages to craft really well are those rock like 'anthems'. Listen to songs like 'Evig vrandrar' or 'Kvelertak' and imagine the response they would get from a packed stadium. No doubt they would have the crowd roaring 'Kvelertak' during the encore.

Sure, there is plenty of blasting, plenty of wicked lead work mixed with sharp tremolo riffing, catchy rocking riffs and walls of distortion but where it is unpredictable is you just don't know when things are going to change up. Listen to 'Nekrokosmos' or 'Tordenbrak' and there will be moments there where you think 'well I didn't see that coming...'.

Overall, on its own, 'Meir' is fantastic. Really, you couldn't come up with a better follow up. No doubt they will be catapulted even higher to stardom with this and understandably so. Not much more can be said.

Ikil

Looking Back: Dissection - Reinkaos

Instead of writing about something new, lets look at something from the past. Dissection's 'Reinkaos' album. An album that at its time probably wasn't given the proper acknowledgment it deserved but when hearing it today, I appreciate it and enjoy it much more.

The year was 2006. The anticipation of the new Dissection album had been growing for a couple of years since Jon Nodtveidt had been released from prison. I remember a friend and I talking about his release in 2004 and believing that the new Dissection album would be one that would be full of so much hatred and brutality given what we read about his treatment during his trial and how angry he was because of it. Then we heard 'Maha Kali' and our expectations quickly changed. Instead of hatred and evil, we were hearing something much more positive, galloping and upbeat. Quite unusual. I wasn't going to give up on my expectations just yet however.

When 'Reinkaos' did arrive, I was very surprised. Gone was the frost and windy atmosphere of 'Storm Of The Light's Bane' and 'The Somberlain'. Gone was the evil and blistering paced riffs and the sorrowful and distinctive melodies. Yes, ten years is a long time between albums, but this Dissection didn't sound anything like the one of old. It was not to say I disliked the album, I did enjoy a few songs, but overall I was quick to put it away.

Production wise, things just sounded too clear. The riffs felt like they had a quick stutter to them, like there was no general flow. Where I sensed an atmosphere that was black, the problem was, it felt like this album had no life. Like being in a pitch black room with not a trace of air to breathe. For a melodic death metal album though, this was as dark as a melodic death metal album could get.

Okay, enough of the criticism. The point of this write up is, when I look back at this album now, I have found myself appreciating it much more. Instead of a feeling of sorrow and evil like the first two albums. 'Reinkaos' is more upbeat and carries with it a sense of pride and triumph. Instead of making their occult beliefs seem evil, they actually make them seem cool and they are proud of it. You sense that in the chants, and in Jon's voice. You hear a song like 'Black Dragon' and 'Dark Mother Divine', even 'Maha Kali' and they present the themes so gloriously. Christianity might tell you all that this is evil, but one who actually knows about the beliefs knows that that isn't the case.

The melodies have energy and soar and do have a powerful sense to them which proves that sense of pride for their beliefs further. I would have like more tremolo riffs but whatever, this was a new direction. The only thing that I find really lacks on this album is the atmosphere. There is just none of that 'background noise' being carried with this music. I am not saying that it needed that cold feel but it needed something to make the album feel 'epic' or 'proud' because that seems to be the way they were trying to present this album. For me, the production just felt lifeless.

In the end, some would argue where to place Dissection between melodic death metal and black metal. Before this, I saw them more as a black metal band but through 'Reinkaos', they made more sense. Dissection were always a melodic death band, only their sound and themes were much darker than everyone else around them at the time. Even further, maybe too distinctive to really define. What helps make a classic. Even when you hear 'Reinkaos' today, ask yourself, what melodic death metal band has done an album just like that?

Ikil
 

Angantyr - Forvist

There has always been something about Angantyr for me. Not that he is one of my favourite black metal bands, I wouldn't even say top 10. But when you hear his stuff, that old school feeling always is present. His works are always enjoyable. I was disappointed with 'Svig' but with 'Forvist', this is exactly what made me such a fan of Angantyr in the first place.

'Forvist' reminds me a lot of 'Haevn'. A big sound, like a thunder storm going along with the battle ships through the seas. This big sound brings back that epic feel that was missing on 'Svig'. 'Svig' was flat. 'Forvist' sounds huge. Dark but carrying great pride and strength the way the riffs gallop and pace along.

I always like how nothing is technical, just good riffs and enough in the passages to keep it interesting considering their length. Just take a song like 'I Forfædres Fodspor' for example the way the walls of distortion gallop along in sync with the tremolos and the drum patterns will just tread along before breaking out into blistering speeds. It is like a sudden gust of cold wind rips through the sea. Even if the conditions are fierce, the troops on their ships are fearless and have great confidence in making it to the shore.

Even with the vocals, Ynleborgaz just has the perfect sound and feel. Cold and harsh and thanks to the big sound, you can really feel the energy, almost barbaric. None of this deep tone stuff you hear from some of todays black metal vocalists which for me removes that cold and harsh atmosphere of the early days.

With a lot of todays black metal bands opting for over the top production and over theatrics. Angantyr produces another album embodying the old spirit and showing how it should be done. Nothing wrong with theatrics, but I will always enjoy this true dark, cold and harsh atmosphere more.

Ikil

Favourites of 2012

Yes I know.. It has been a while! I have been a busy man these last six to eight weeks. Moving home, settling in with my wonderful fiance and with all that, no time to put down my thoughts on the latest albums I have been hearing.

2012 gave me heaps of really awesome albums. When it comes to what my favourites were? Far too many to put down. When compiling my end of year list, interesting to note for me was what albums surprised me most and what albums I was expecting to be in my best list, but ended up being a massive let down. I even haven't given some albums enough of a listen to really absorb how amazing they are and if I could sit down for a moment and really take it what I am hearing, then I would probably have these albums in my top 10. Namely Neurosis, Between The Buried And Me and Converge.

Anyhow, let me talk about my five favourite albums of the year. I decided to only talk about five given I liked so many and didn't wanna take anything away from the other albums. So:

Witchcraft - Legend


This album has grown on me so much. I went from not thinking much of it, to being amazed with it. A more modernized sound that teases progressive elements more than the psychedelic ones I heard on 'The Alchemist'. So many catchy riffs, so many memorable lyrics and vocal moments from Magnus. This should be the 'break out' album for them. We'll see.


Ne Obliviscaris - Portal Of I


Finally, after so many years, the NeO debut album finally arrived and it is beyond superb. The musicianship of these guys is one of the best out there. So many twists and turns. Beauty colliding with chaos. No album weaved an abundance of different emotions more than this one did in 2012. Code 666 should finally get them that overseas recognition and finally they will be making their way overseas. Deservedly so.


Unleashed - Odalheim


The biggest shock of 2012. What the fuck happened to Unleashed? This is the most barbaric, extreme thing they have ever done. This sounds scathing, evil, menacing. It was as if they laid a black metal sheet over their death metal sound and just made themselves 10 times more crazy. The berserker of any viking battle.


Burzum - Umskiptar


The most intriguing thing about Varg when it comes to his music is how after all these years, his time in prison, he still manages to create an album that is all his own. The only thing that is changing is the atmosphere from dark and evil to more sorrow scattering across the dawn. Overall, there is only one band you can compare this to and only one band that is clearly influencing this sound. That band is of course, Burzum.


Enslaved - RIITIIR


And a year finally came when Enslaved made my favourite album of the year. When these guys make an album that signifies their transition into change (eg: 'Monumension'), they nail it. 'RIITIIR' is a journey that will take you to many different places and each one of those places will be something special. Burzum still remains true to itself after all these years, Enslaved evolves but continues to use the elements from their beginnings to show they haven't forgotten where they have come from. Their best album in 10 years.



So now I look forward to what I will hear in 2013.

Ikil