Marduk - Memento Mori

http://www.secret-face.com/

#FOR FANS OF: Black Metal

One of the best releases of 2023, at least out of 10. Though, I do miss Legion on vocals, who gave up metal to pursue being a tattoo artist. Still though, Daniel had some big shoes to fill! I think he pulled it off quite well. And I like the fact that this release isn't like 'Panzer Division Marduk' with the utmost blast beating. There were many different tempos and the production sound was quite good! These guys have a lot of life left in them! I like the music mostly and the vocals, it's much promise to Marduk's longevity. Morgan on guitars and Simon on drums show almost a quite new of a band, and these musicians have some big shoes to fill (as I say).

They're still one of the best black metal musicians around. I like how Daniel's voice soars and holds out the screams. It's screaming throughout, alongside the blast beating. They uphold the blend of 'Nightwing' and 'Panzer Division Marduk.'

This is 40 minutes of a hellish Marduk still going strong even though the lineup has changed quite a bit, but it's good to hear that they're still going on strong! These guys have some unique riffs. A lot of tremolo picking and bar chord mania!

I've been able to get into this album quite easily because there's so much diversity to each song. On each track, you've got to figure the screaming and blast beating, but then there are points in here that are calmer. Not that many, but they do change it up. I like every song on here, they stayed true to their roots and with this newer lineup was able to not compromise in musical style and black metal onslaught. I thought that with the ending is quite abrupt. I admit that 'Panzer Division Marduk' is still my all-time favorite from them. They just never seem to let up on that one. But this one probably a more diverse one than that one, and it needed to be so. It's because they needed another side to them that wasn't brutal all the way through.

Definitely one of the best in 2023 in terms of black metal or just metal in general. Take a listen and you'll hear what I'm saying! (Death8699)

(Century Media - 2023)
Score: 80

https://centurymedia.bandcamp.com/album/memento-mori

Devotion - The Harrowing

http://www.secret-face.com/

#FOR FANS OF: Black/Death

What a HEAVY release! I think their previous was a bit better, but this one packs a punch and I was impressed with their perseverance regarding their songwriting. The music is brutal and so are the vocals. Sound quality is quite good, but I thought 'Necrophiliac Cults' was a little more impressive. This still has some great moments. The riff-writing was good, but the tone of the guitars were on distortion but a little more dark. The quality of the music is better than their previous but the guitars I thought their previous was better. Nevertheless, the overall output here was admirable.

Talking about the guitar, because the acoustics (sound) were a little muddled I couldn't hear the riffs as well as on their previous. In some instances it just was noise. Especially when the leads were going. But otherwise, no other complaints really. The vocals make the music sound even darker than on any of theirs. I like the fact that they wanted a more brutal sound but their riff-writing could've been better sounding. Anyway, it's good as it is despite my differences regarding the guitar riff-writing. I suppose you can say that it's an album that you've got to be in an acquired zone when hearing. That's the best way I can describe it.

The production quality was a step-up from their previous. I think that the music was well mixed and solid in that respect. Everything you can hear pretty well (guitar, bass, drums, vocals, and so on) so in that respect it's solid. I like how the vocals follows the guitars in some songs. There weren't many that followed that path but the guitars were HEAVY duty! I think that they needed to spend more time with the riffs and lay them out in the right times alongside the rest of the instruments. If they would've, I would've scored this higher than an 80%. Anyway, a good release at that and some good music (in streaks).

I'd check this out on YouTube I don't believe it's on Spotify. I ordered the physical copy on eBay. It was worth it even though I have beef with the recording. I'd say support this band because they have a helluv a lot of potential. These past two releases show great promise in the death metal arena. I'd say get their previous and this current one because both of them are good. They really do well with making death metal. I know I said a lot that was wrong with this album I guess it's because their previous I though was more solid. But either way, both are good. Check this one out! (Death8699)

(Memento Mori - 2021)
Score: 68

https://devotiondeathmetal.bandcamp.com/album/the-harrowing

Frozen Wreath - Memento Mori

#PER CHI AMA: Black Atmosferico

È una nuova creatura sonora quella proveniente da Szombathely in Ungheria che risponde al nome di Frozen Wreath. Il duo magiaro ha da poco pubblicato per la Filosofem Records questo debut intitolato 'Memento Mori', che include otto tracce cantate in ungherese, all'insegna di un black atmosferico. Nulla di innovativo, faccio le debite premesse: parte "Megsárgult Fényképek" e il sound proposto sembra un ibrido tra black e folk, con velocità esagerate e blast beat a profusione coniugate con melodie folkloriche. Il risultato non ha nulla di trascendentale fatto salvo quell'assolo finale in grado di regalarmi piacevoli emozioni. La seconda "Halott Igéret" prosegue sparandomi in faccia ritmiche vorticose, quasi i due musicisti ungheresi vogliano dimostrare di essere abili blacksters di un sound in realtà in voga quasi trent'anni fa (Darkthrone docet). Si salvano solo per quei break atmosferici con tanto di spoken words a donare un pizzico di mistero ad una proposta che rischierebbe invece di fare una pessima figura invece per una qualità contenutistica non proprio cosi esaltante. Con "Miért?" si torna ad un black mid-tempo di stampo folk con la voce del frontman Roland Neubauer (che abbiamo già incontrato nei Witcher) che abbandona il classico screaming scolastico per abbracciare un cantato pulito in un contesto epico in stile Isengard, il che non mi dispiace affatto, anche se arrivato 27 anni dopo quel 'Vinterskugge' che mi fece adorare il side project di Fenriz. "Ősz" riprende con un black ferale scoordinato che mi fa francamente storcere il naso e presto anche skippare sul lettore cd. Non è certo questa la versione dei Frozen Wreath che prediligo, a base di quel black old school con cui sono cresciuto nei famigerati anni '90. Non saranno pertanto questi Frozen Wreath a farmi tornare il desiderio di rivivere quelle emozioni vissute oltre un ventennio fa. I due di oggi sono più convincenti infatti nella loro versione più melodica, come in questo pezzo quando un piano si prende la scena e guida le clean vocals dei nostri in una seconda parte decisamente più riuscita, merito anche di un comparto melodico più piacevole. La band però deve ancora avere le idee confuse e in "A Kőszikla Megmarad" propone un black troppo ragionato che alla fine non sa proprio che direzione pigliare e dopo una sconclusionata parte centrale vira verso un finale atmosferico. Furia black invece per "Feltámadás", in cui sottolinerei le chitarre stile Windir, in un pezzo che vanta un organo a metà brano, prima dell'ennesima scorribanda black nel finale. La title track è forse il pezzo migliore del disco, grazie alla sua lunga parte atmosferica introduttiva e ad una seconda metà, per quanto all'insegna di un black scolastico, meglio riuscita rispetto ai precedenti pezzi. Ancora meglio la conclusiva "Fagyott Koszorú", il pezzo più cupo, lento e ben assortito di questa prima release dei Frozen Wreath, che dovranno far decisamente di più in futuro per uscire da quell'underground affollato di band uguali a questa. (Francesco Scarci)

(Filosofem Records - 2021)
Voto: 63

https://frozenwreath.bandcamp.com/releases

Mordant - Momento Mori

BACK IN TIME:

#PER CHI AMA: Black Old School, Venom, primi Bathory

Mezz’ora di musica per questo cd dei Mordant, band svedese proveniente dalla sconosciuta cittadina di Dals Långed. Il quintetto scandinavo (le cui ridicole foto appaiono all’interno del booklet), dopo due demo all’attivo ha esordito con un black old-school, sulla scia di quanto prodotto dai Nifelheim, Pagan Rites e Bestial Mockery. Questo album di debutto, intitolato 'Momento Mori', ci dimostra la volontà della band di riesumare il sound dei primi Venom/Bathory e miscelarlo col rozzo metal dei Motorhead. Il risultato che ne viene fuori è però abbastanza scadente. La produzione grezza non aiuta poi ad apprezzare un sound che, alla lunga, si rivela scarno di idee e alquanto povero di contenuti. A tratti sembra di cogliere il fantasma di Quorthon (quello del debutto però) aleggiare sull’intero lavoro però quelli erano altri tempi. Quello che ho fra le mani è un cd che non saprei come utilizzare, se adoperarlo come bersaglio nel lancio al piattello o come spessore sotto qualche tavolo. La musica dei Mordant non è proprio pessima, in quanto il combo scandinavo si sforza di frapporre alle classiche sfuriate black, momenti di più pacata atmosfera, ricercando poi un minimo di melodia, o abbozzando qualche assolo, tuttavia alla fine è il senso di vuoto che pervade le mie orecchie a prevalere e inizio così a provare un senso di nostalgia per i bei tempi andati. Pessima inoltre la cover con quel teschio bianco su sfondo nero. Concludendo con una battuta quanto mai scontata, direi che ai Mordant manca un bel po’ di “mordent”. (Francesco Scarci)

(Agonia Records - 2008)
Voto: 45

https://www.facebook.com/mordantblackmetal

Grimtone - Memento Mori

#FOR FANS OF: Black Metal

Just in time for the first snows of the season, two man Swedish black metal project, Grimtone, released its first full-length album, 'Memento Mori', with all the raging winds and flying ice expected to prove itself as a raw and fitting addition to the plethora of newcomers honoring the roots of the style.

Blasting out of the gate with some shameless Immortal worship in “Souls Reborn in Hate”, it is clear enough that Grimtone promises to make up for its lacking inventiveness with aggression. Sure, Michael Lang has an aptitude for his instruments and plenty of stamina to hold down his blast beats, however it seems that the music as a whole would benefit from more input and outside ideas to push the instrumentation past its satisfactory simplicity into a more interesting dimension. While Linus Carlstedt provides vocals, it seems very likely that Lang is the main contributor to the band with control over every instrument, leading to a bottleneck of creativity. There are some good tremolo hooks throughout this album like in “The Blood of the Dead” and “Armageddon (Rise from Hell)”. Sadly, they end up reeled in by a constant background black metal blast. Between sparse cymbal breaks and blast beating, there is not much more going on in the lower register throughout the majority of 'Memento Mori', just an endless grim tumble of flat and atonal aggression that blends itself into a vanilla paste thick enough to paint a face and fill an average mold with the bare minimum.

I keep wondering, where is the shriek, where is the fear, where is the evil that I so desire between shrill and nearly inescapable riffs that sound as fearsome as they are destruction in the ears? Yet this band has nothing but a pathetic personae to push rather than a true sense of horror to isolate and explore. If you blast this album, you hear the same as you do when listening to it on a lower volume. There is nothing but a base system of banality driving this music that, while keeping a drum stamina, doesn't grab a church by the steeple and feed it to Satan's fire. If this band wanted to portray the oldschool, it simply kindergartens it and that is what makes this album so utterly inane and commercial an attempt.

Most disappointing is that the title track ends up sounding more like an 8-bit Bowser battle than a bombastic black metal offering and the guitars, held deeply in the background, sound exactly like the guitars in each verse of “Fields of Pale Limbs”. This production is perplexing. Either the band doesn't understand how the limitations of lo-fi recording equipment contributed to the releases of early black metal and its sound, namely the necessity for personality and definition through its minimalism, or the band just doesn't care because this album was clearly recorded on nice equipment and then mixed to sound awful, doing the music a disservice and simply coming off as contrived. Throughout six main songs, there is an average of one riff at best per song, not counting incessant repeating ideas that end up hammered into dullness by a damnable one-trick drum kit.

The biggest change in drumming comes in “Witch's Lair” where the percussion is allowed to build from a slow and sharp cymbal and snare combination to steadily rise in intensity. Where the majority of this album was hammering to the kvlt, Michael Lang does stretch out a bit on this track to help distract from the vocals and let a cymbal tap the tip of the tremolo. Bass and echo come in waves, falling with the guitars in a very literal and linear sound that yearns to take a next step into some sort of counterpoint. Grimtone is almost there in “Witch's Lair” but, to its own detriment, is unwilling to embark on that journey as they band plays it as safe as possible. Black metal is not a safe sort of music and I think Grimtone forgot that fact while trying to appeal to that same audience.

“Empress of Black Light” lines a riff right back up with the canon created by the title track, rounding out the majority of this album with its quick sawing that has become an all-too-familiar and unearned encore throughout these thirty-one minutes. In spite of a nice second riff that swings past the lead in a far more pleasing fashion, Grimtone fails to impress with too little too late. Like the actual style of memento mori, images taken of the dead during the days when photography was prohibitively expensive and most families' only pictures of their loved ones would be of corpses propped up after death for the occasion of a funeral, Grimtone may as well have left the old school to its own era and tried to do something slightly new. Sadly, 'Memento Mori' is another average and unnecessary underground attempt at homage without personality. Stiffness and mysterious minimalism do not always equate to grimness. Such a flat and unimpressive album merely shows this pair's own atonality and trite creativity in a realm so accustomed to innovation. Grimtone is likely to dwell among the likes of Framferd and Runespell. In a hall lined with identical statues and where the haunting echoes of 'who?. . . who?' glide past rafters upon which no owls care to perch. (Five_Nails)

(Self - 2017)
Score: 40

https://grimtone.bandcamp.com/releases

Atlas Volt - Memento Mori

#PER CHI AMA: Alternative Progressive Rock

Gli Atlas Volt sono un duo dislocato in Svezia, attivo dal 2011. In realtà i fondatori sono uno inglese e un canadese che dopo varie esperienze musicali, si sono incontrati a Malmö e hanno dato vita a questo progetto, incentrato su uno stile indie rock con contaminazioni post rock, shoegaze e prog. I due polistrumentisti vantano un background di tutto rispetto, con svariate esperienze in molte band, scrittura di colonne sonore e tanto altro ancora. Atlas Volt diviene quindi un crogiolo dove fondere il proprio bagaglio musicale, con la voglia di dare massimo respiro alla creatività, senza vincoli con etichette o quant'altro. Infatti la decisione di essere totalmente indipendenti li porta ad avere ottimi riscontri in Europa, con eccellenti risultati nelle vendite, già a partire dal precedente lavoro, 'Eventualities', uscito due anni fa. 'Memento Mori' è un concept album complesso, ricco e stratificato che consta di ben diciassette brani che si incastrano tra loro, svariando in diversi generi, pur seguendo sempre il filo comune del rock emozionale. Voce eterea, arrangiamenti che vanno da una flebile carezza di chitarra acustica o pianoforte, al pugno chiuso delle distorsioni con esplosione ritmica annessa. Quello che colpisce è la semplicità nella composizione, alternata a fraseggi complicati e ossessivi che mutano costantemente, con l'aggiunta di campionamenti vari che creano un mix non sempre classificabile. L'album è concepito come una colonna sonora dove il film è la vita di tutti i giorni, tempestata di gioie, dubbi, sfide e rivincite sul mondo e su noi stessi. Infatti anche i testi sono curati e mai lasciati al caso; la stessa dedica dell'album (a tutte le vittime del fondamentalismo religioso) non lascia dubbi sulla posizione sociale della band. "Event Horizon" apre le danze ed è subito facile immaginarsi i due musicisti che compongono in solitaria nei propri studi per poi lanciarsi in lunghe sessioni di prove assieme, sperimentando suoni e arrangiamenti fino ad arrivare al mix desiderato. Una traccia pop rock dove il pianoforte e la chitarra in veste eterea conducono l'ascoltatore verso paesaggi incontaminati, senza bisogno di proferire una singola parola. Il crescendo avviene con l'aggiunta di un assolo, con la batteria che si fa più incalzante e il basso che accompagna un po' in disparte. Breve, ma intenso. "Wrong" si avvale di synth e loop che danno maggiore spettro alle melodie e arrangiamenti classici, con l'aggiunta della voce che ben si sposa con le atmosfere shoegaze del brano. A metà brano entrano le chitarre distorte che portano una vena oscura e aggressiva con una belissima evoluzione prog rock che mostra il lato più incisivo degli Atlas Volt. Poi tutta torna come all'inizio: arpeggi e vocalizzi delicati ci ricordano che dopo la tempesta, il mare torna sempre calmo. "Sirenum Scopuli" riprende il mood della precedente canzone, puro prog rock con qualche vena alternative metal che sfoga tutta l'energia positiva accumulata sin qui. Gli strumenti hanno totale libertà e anche la scelta dei suoni trova tela bianca dove dipingere con colori accesi e sfumature di nero. Un excursus piacevole, che unito alla successiva "Purusartha" crea un contrasto geniale. Qui il sitar ci porta in oriente e quasi si sente il profumo di incenso che aleggia nella stanza in penombra, con lampi di luce che filtrano tra le tende svolazzanti. Devo dire che il duo non si è risparmiato nulla, i due compari si sono prodigati a suonare svariati strumenti e appena hanno potuto, hanno coinvolto altri musicisti per arricchire ancora di più gli arrangiamenti. L'elettronica, seppur rarefatta, si sposa con i violini e il pianoforte, unendo il vecchio con il nuovo e partorendo un album che magari farete fatica ad approcciare se siete amanti delle sonorità forti, ma che può regalare emozioni intense quando vorrete una pausa da tutto e da tutti, mentre state cercando una qualche risposta ai quesiti della vita o vorrete solamente settanta minuti di buona musica. Adatto anche a quelli che in un full length si lamentano spesso di brani tutti uguali, con 'Memento Mori' non accadrà mai. (Michele Montanari)

(Self - 2015)

Voto: 80

https://www.facebook.com/Atlas-Volt

Church of Disgust - Unworldly Summoning

#FOR FANS OF: Primitive Death Metal, Incantation, Ignivomous, Hooded Menace

A two-man retro death metal act from Texas, Church of Disgust seem to follow the Incantation act of deathly worship that tends to make the band feel like they’re flat-out copying the band. Stripping down the style even more than McEntee and company do, this is cavernous, Lovecraft-inspired Death Metal that tends to rattle along with some noteworthy Doom-inspired riff-work and accompanying tempos along the way to go along with the darker, more ominous styles throughout the rest of the album. This is an incredibly straight-forward effort that really doesn’t offer up many surprises throughout either, tending to focus on such matters throughout the running time so this one tends to resemble primitive-sound Death Metal obsessed with the supernatural and otherworldly horrors in a barbaric cacophony of low-fi guitars, rattling drumming and deep, deep growls that are all straight from the Incantation playbook just without the originality, spirit or ability to gauge the listener the way that band goes about this bestial style of sonic death. Frankly, the band tends to thrash away in a simplistic vibe for a while filling the space with blistering drumming and unrelentingly intense vocals before slowing things down into a slower crawl with sprawling, doom-influenced patterns and chords only to repeat this throughout the song as a whole before returning to matters again on the next track where it repeats the process so it really just depends on the intro to really set the songs apart for it’s awfully difficult to really determine where you are on the album as a whole once it gets going. If there is such a thing as a stand-out track on here, the slightly faster tempos and more extended energy spent on the blistering tempos on "Writhing Dominion" do stand out somewhat from the pack for the ability to comfortably initiate a beat-down for the majority of its running time, but then it really sounds like "Immemorial Lunacy," "Rotting Above Ground" and the title track for that matter as well. "The Great Chamber" also deserves mention for its inherent ability to sound like a B-side to Hooded Menace only with the cavernous vocals being added over the sprawling Doom-tempo they employ, and that’s a sincere compliment in its purest form. Make no mistake, the band is exceedingly well-accomplished at this particular format and style, it’s just not the most original one they’re attempting which is where this one falls. Perhaps album two is where they’ll hit the mark. (Don Anelli)

(Memento Mori - 2014)

Score: 65

https://www.facebook.com/churchofdisgust