Skeletonwitch - Serpents Unleashed

#FOR FANS OF: Old-School Thrash Metal, Witchery

More than just a rudimentary retro-thrash band, Ohio’s blackened thrashers Skeletonwitch have been providing this explosive mixture of these two styles from the get-go, and their stellar fifth offering, 'Serpents Unleashed', shows the band is as fired up and on top of things as ever. Rife with explosive thrash riffs against pummeling drumming and coarse, raspy black metal shrieks,, the mixture works exceptionally well with this rapid-fire assault and speed-drenched barnburners, clocking in a lot more in a half-hour than most bands would fit over the course of several albums. Immediately the guitar tandem of Scott Hedrick and Nate Garnette begin pouring on the steam with a vicious volley of traditional thrash riffs with the occasional touch of technicality or melody, depending on the nature of the song in question’s needs at that point but more often than not just slash their way throughout the album and managing to crank out fully-fledged tracks like the opening title track, "I Am of Death (Hell Has Arrived)", "Burned from Bone" and "Unending, Everliving" that just seem like relentless battering rams against the senses. When they know when to drop in a healthy dose of black metal melody like "Unwept" or spread out the pattern with some mid-range riffs and an extended intro like "More Cruel than Weak", it’s obvious there’s not a lot of messing around with the guitars here and it shows this quickly. Even vocalist Chance Garnette gets plenty of time to shine here, providing a series of legible, hoarse rasps that sound more at home on a typical black metal release and provides a key cog for the band to remain an individual in this sea of thrash bands. While it does get repetitive since it seems the band really only knows one direction which makes the songs sound somewhat similar in the second half, there’s plenty to enjoy and love with this release and fans should be incredibly thrilled with it. (Don Anelli)

(Prosthetic Records - 2013)
Score: 85

http://www.skeletonwitch.com/

Dustern - Of Gloam and the Roots of Transition

#PER CHI AMA: Post Rock, Shoegaze,Opal, Love and Rockets, Blood Ceremony, Nico

Difficile posizionare questa band proveniente da Oakland, California. Difficile perchè ci si scontra con due anime in contrasto tra loro nel mix sonoro proposto in questo primo album autoprodotto. Una che guarda atmosfere alternative metal con una attitudine pop/rock/doom, l'altra psichedelia sotterranea dei primi anni novanta, quella più astratta ed eterea, quella della post new wave, quella dell'alternativo intellettuale. Per trovare degli esempi rispolveriamo il sentimento di distacco e allucinazione costante che provocavano gli Opal e il suono tra il post punk degli ex Bauhaus divenuti Love and Rockets, qui decellerati a dismisura, e con una impronta da rocker maledetti in naftalina, innamorati dei brani lugubri a la Black Sabbath. La cadenza è poi alla Blood Ceremony senza visioni vintage, niente flauti e senza basso, con richiami '70s riconducibili solo alle allucinazioni più depressive di una Nico in vesti gotiche anche se non si raggiunge il lato più sepolcrale della biondissima dea teutonica. I suoni sono a rallentatore, freddi e minimali. Dei canti ipnotici alla Om ma dal suono ostico dei primi Wire, dal sapore esageratamente di cantina con un impianto a tre, batteria, chitarra e tastiere. L'album ha una attrattiva tutta sua ed è rivolta a ricercatori di un suono esasperato, sciamanico e psichedelico che si esalta nella voce della cantante e tastierista LiHe Han (che si alterna ai vocalizzi maschili di Derek DeRoche) che unita alla leggera presenza dell'organo e alle cadenze doom, formano una bevanda ipnotica in grado di alterare la cognizione anche dei più impassibili. Una band impossibile da catalogare, sia dal punto di vista tecnico/esecutivo che da quello compositivo; rimaniamo dell'idea che questo modo di fare musica anti commerciale sia molto coraggioso e dagli esecutori molto sentito e vissuto profondamente. Per cultori e ricercatori psichedelici. (Bob Stoner)

(Self - 2013)
Voto: 65

http://dustern.bandcamp.com/

Serpent Noir - Seeing Through the Shadow Consciousness: Open up the Shells

#PER CHI AMA: Black/Thrash old school, Hellhammer, primi Bathory

La Daemon Worship Productions si sta confermando per il sottoscritto pozzo di conoscenza per quanto riguarda una scena underground maledettamente oscura e malvagia. La band di oggi arriva dalla Grecia grazie all'unione di alcuni membri di band altrettanto sconosciute anche per uno come me, che pensava di conoscere buona parte del sottobosco estremo. I nomi Embrace of Thorns, Necrovorous, Nefandus, Ofermod, Leidungr, cosi come Serpent Noir non mi dicono nulla. Ciò non toglie che quello che ho fra le mani sia qualcosa che scotta, come quei vapori di zolfo che si alzano dalle viscere dell'inferno. “Allies from the Black Sun Universe” esordisce con un black cupo e tirato che a metà brano si mette in mostra per la sua veste liturgica e sulfurea. Un gran plauso lo faccio immediatamente allo screaming chiaro e graffiante del vocalist Kostas e al martellante drumming di Michayah Belfagor. “Dragon Egregore” emana un feeling più old style, con le chitarre che si muovono in territori horror/heavy metal, regalandoci anche uno splendido assolo conclusivo. Con “Voids of Samael” si torna a picchiare selvaggiamente, con il sound che si mantiene ancorato ad un black dalle forti venature thrash, di un passato mai dimenticato (Hellhammer, primi Bathory), prima di interrompersi in un ritualistico break centrale, con suoni di morte che aleggiano nell'etere. L'incedere di “Andramelek Stone” è lento e minaccioso, cosi come pure quello spettrale di “Black Sphere”, due brani in cui la componente horror si rivela preponderante. Un gong apre la breve e classicheggiante “Shifting to Shadows Consciousness” in cui sono le grevi sonorità di chitarre e basso a mettersi in mostra. “Dragon Noir” è un altro cerimoniale che ci introduce alla conclusiva “Open up the Shells” altra song bella tirata, con un lunatico assolo centrale, ambientazioni esoteriche da brivido che completano un'opera davvero gradevole dal sapore old school. Occulti! (Francesco Scarci)

(Daemon Worship Productions - 2012)
Voto: 70

https://www.facebook.com/pages/Serpent-Noir/

Ihsahn - Das Seelenbrechen

#FOR FANS OF: Progressive, Experimental

What can be said about Ihsahn, that hasn't already been said? His body of work speaks for itself. Emperor's 'Anthems to the Welkin at Dusk' still remains as one of the top five metal albums ever released, to these ears anyway. Sixteen years after it's release the "anthems" still ring out each and every time it's spun and is still one of the few albums in my collection that actually grows stronger with time. 2010's epic 'After' showcased the diversity of this man's musical ability. Ihsahn has never, and will never conform to the limitations that any label would put on him. He consistently challenges his listeners with each release. 'Das Seelenbrechen' is Ihsahn's fifth solo release and his most expansive work to date. If 2012's 'Eremita' pushed the proverbial envelope, then 'Das Seelenbrechen' tears it up, stomps on it and then sets it on fire. Ihsahn's latest opus definitely focuses more on the progressive side of his work. Almost all of the black metal elements have been stripped away. This is the type of release that could divide his fan base. For the record. let me state, that I am on the "love it" side of the fence. The album starts off in familiar territory with opener "Hiber". The song starts off with him screaming between the three chords that ring out. It then moves forward with a creepy little keyboard passage underneath the distorted heavy guitar riff. The crushing heavy tune to start the album has become a staple in his solo work. However, after the opening track this album takes a turn towards the more mellow side of things over the next three tracks. This comes to a head with the amazing "Pulse". This song is my personal favorite on the album and shows how experimental Ihsahn is on this release. It starts off with an electronica feel, which it maintains throughout most of the song, and the vocals here are clean and simply some of the best he has ever done. At the songs close, the guitars have such rich tones and his vocals soar repeating the words "Incompatible, with myself". The next two tracks "Tacit 2" and "Tacit", in that order, are dark, eerie songs where the main focus is pounding drums and Ihsahn's harsh vocal style. These two tracks appear in the middle and act as a transition from the first half to the second half of the album. "M" which starts out sounding like it could be a lost track from 'Perdition City' era Ulver, with a spoken word passage that adds to the already dark, foreboding atmosphere, then climaxes into a melancholy rock sound that is very Pink Floydish. That vibe is furthered by what is the best guitar solo on the album, a cleaner sounding bluesy solo with lots of bends that are, no doubt, a salute to David Gilmore. "See" closes out the album with more of the experimental sounds that Ihsahn seems to be working with on this release. Another track that sees him going off and doing things outside of what the norm is for Ihsahn. 'Das Seelenbrechen' is a complete album and should be listened to as such. There is a definite flow happening here. This album harkens back to the 1970's experimental phases of King Crimson or Van Der Graaf Generator. However, this is not retro sounding in anyway. I am drawing those comparisons soley based on the experimental nature of the release. Ihsahn has stated that this release was going to be different and away from his more metal sounding stuff. I can only hope that he decides to build off this release and continues to further experiment with different sounds. (Brian Grebenz)

(Candlelight Records - 2013)
Score: 85

http://www.ihsahn.com/

Atlantean Kodex - The White Goddess

#FOR FANS OF: Classic Heavy Metal, Doom, Candlemass

Coming a full three years after their spirited-but-flawed debut, the second full-length from German Epic Heavy/Doom metallers Atlantean Kodex, 'The White Goddess (A Grammar of Poetic Myth)' is probably one of the years’ finest achievements and a sparkling example of a band firing on all cylinders of their chosen sound. Brimming with sprawling guitars firing off classic heavy metal riffs within a plodding, majestic pace that rivals the speed and urgency of doom metal at times, with ecstatic vocals and well-timed narration samples woven into the story, this is a record that ebbs and flows from up-tempo back to atmospheric touches and finally to mid-range with absolute conviction and intent which allows for a warmness and natural sound that isn’t heard very much. It isn’t full of bad tracks at all, as the five proper full-length tracks are utter stand-outs though most memorable would belong to "Heresiarch (Thousandfaced Moon)" for the way it manages to include so many weaving patterns throughout without losing an ounce of power through its sterling performances. As well, the closing duo of "Enthroned in Clouds and Fire (The Great Cleansing)" and "White Goddess Unveiled (Crown of the Sephiroth)" provide similar reactions from their sparkling guitar-work, dynamic drumming and memorable songwriting that manages to leave ten-minute plus works without any sense of plodding filler-moments or sense of boredom. This is mostly due to guitar tandem Michael Koch and Manuel Trummer who spit out a series of inviting, melodic leads throughout the course of the album that are quite dynamic and heavy while mixing in the melody where appropriate, though undoubtedly the true star of the record is vocalist Markus Becker who utterly shines with a series of sparkling vocal work-outs full of emotion, power, range and dynamics that call for a wide variety of different attributes and he comes through spectacularly, stealing the spotlight numerous times. While the effort may be overkill at times with it’s epic length for really only five true tracks out of eight that may be seen as it’s true downfall, there’s so much else to like elsewhere this will be near the top of many year-end Best-Of lists and is an essential listen. (Don Anelli)

(Van Records - 2013)
Score: 90

http://www.atlanteankodex.de/

Fyrnask - Eldir Nótt

#PER CHI AMA: Post Black, Agalloch, Deafheaven

Ecco la band responsabile del ripristino del black metal tra le mie preferenze musicali. Con l'uscita nel 2011 di 'Bluostar' infatti, ho ripreso ad assaporare questo genere estremo che ritenevo ormai morto, nella sua veste post/cascadiana. Da allora sono diventato un drogato di questa tendenza e il fatto che il buon Fyrnd sia tornato mi rende più che mai felice nell'ascoltare cosa la sua formidabile creatura ha da offrirci oggi. Seconda release targata Temple of Torturous, etichetta svedese che annovera nel suo roster, oltre ai post blacksters statunitensi Echtra, anche i nostrani Melancolia Estatica. Ma veniamo finalmente a 'Eldir Nótt', elegante cd nella sua veste grafica, che consta di quattro pezzi più un liturgico intro iniziale, un paio di intermezzi liturgici e l'outro. “Vigil” apre i battenti e conferma il tedesco come lingua di elezione per il mastermind teutonico. La foga apocalittica del sound dei Fyrnask riappare nella stessa forma in cui l'avevo lasciata. Sto parlando di un illuminato black metal dai risvolti epici che ancora una volta fa guizzare i miei sensi. L'assalto è ovviamente un feroce e caotico concentrato di suoni post black, in cui si addensano splendide atmosfere bucoliche ed eteree ambientazioni, un inedito mix tra Bathory e Agalloch, che immediatamente mi fa gridare al miracolo ed esultare per un'altra release eccellente che si candida a collocarsi nella mia personale top ten dell'anno. La potenza emanata dalle tonanti ritmiche del musicista germanico si confermano di assoluto valore con il sempre più frequente utilizzo di strumenti etnici (simil Negura Bunget) a conferire un valore aggiunto alla proposta della band. Con la lunga “Jardheldr” ci si infila diretti in atmosfere notturne, in cui ben presto calano i fendenti di una vorticosa ed efferata brutalità musicale. Il caos regna sovrano nell'impasto sonoro generato dai Fyrnask, fino a quando si palesa l'amore viscerale per intermezzi sciamanico-folklorici che spezzano un incedere a tratti caustico. Caustico e caotico, esattamente come si presenta l'epilogo di “Saltrian”, song dal ritmo convulso in cui forse a predominare è un black old school. I dieci minuti di “Síaiða“ sono altro miele per le mie orecchie, non tanto per la sua dolcezza, piuttosto perché è un sound che collima esattamente con i miei gusti musicali. È ancora la foga ancestrale a dominare i sensi, un black di primo acchito primitivo, venato di un pathos epico e al contempo glaciale, pregno di atmosfere dal sapore nordico e da quella malinconia che avvinghia le band dedite al Cascadian black metal. Che altro dire se non esortarvi ad accaparrarvi questo splendido esempio di musica estrema, non ne resterete delusi. (Francesco Scarci)

(Temple of Torturous - 2013)
Voto: 85

https://www.facebook.com/pages/Fyrnask

Grondh – Necilveks

#PER CHI AMA: Black metal, Carpathian Forest, Dissection

Già dall'artwork e dalle foto alquanto dubbiose, questo prodotto non mi convinceva minimamente e dopo svariati ascolti, il lavoro dei Grondh continua a rimanermi nella più totale mediocrità. Il combo lettone propone un black metal sulla scia dei grandi classici; registrato decentemente l'album mostra qualche interessante uscita chitarristica che richiama i Dissection ma niente di cui eccitarsi. Dall'opener "Bads" si capisce già che il problema di questo debut è la composizione, incapace di andare oltre a degli accordi e dei giri basilari. La successiva "Refleksija" non si smentisce mettendo le solite quattro note in croce, e via via così il resto del disco, raggiungendo l'apice con "Telnieks". Per chiarire, la musica composta dai Grondh non è nulla di abominevole e tracce come "Akmeni Cirsts" e "Izuadisana" sono anche piacevoli da ascoltare, tuttavia manca totalmente di personalità, di una composizione interessante e di una buona produzione che esalti le sonorità del metal estremo. (Kent)

(P3lican - 2011)
Voto: 55

www.facebook.com/pages/Grondh/103631996404020

Oranssi Pazuzu - Valonielu

#FOR FANS OF: Psychedelic black metal, Nachtmystium, A Forest of Stars,

All systems go, prepare for liftoff. T-minus 10 seconds and counting, nine, eight, seven, six, five, four, three, two, one....we have liftoff. Oranssi Pazuzu's third mission to the outer reaches of space titled 'Valonielu' has the Finnish quintet pushing their spacey psychedelic black metal sound further. After the first two full lengths, 2009's Muukalainen Puhuu' and 2011's 'Kosmonument' did a good job of putting "space" between them and their peers, 'Valonielu' separates them completely. Some comparisons can be made to Chicago's Nachtmystium, but where Nachtmystium's psychedelia feels more drug fueled, Oranssi Pazuzu has a more spacey sound. One can imagine flying through the outer limits of the solar system into some dark abyss, where the unknown and unexplained reign supreme. 'Valonielu' opens with "Vino Verso", this song has a crushing bass sound, similar to Godflesh. Though the song is very linear, playing the same riff for the entire 4:52, the spaced out guitar effects and the keyboards keep the song interesting. I also must mention that the production on this album is incredible and brings out each layer of the music to its fullest. I believe the production here is what makes the spacey psychedelia work so well (everything is in perfect balance in the mix). The next track "Tyhja Temppeli" follows this same model. Another very linear song with little variation, yet the cosmic sounds from the layering of guitars and the trippy keyboards draw the listener in while the bass is so smooth and the drums keep the low end heavy as hell. Jun-His' vocal approach is also top notch, his harsh voice that never goes too high or too low keeps the black metal vibe while allowing the instrumentation to explore different territories while managing to keep it all cohesive. These first two track serve as the launch, propelling the rocket out of Earth's atmosphere and into a valley of stars. If the first two tracks serve as the launch, then the next two are after the boosters detach themselves from the rocket as it floats towards it's destination. The first of which is the almost twelve minute long "Uraanisula". This song has the band doing its best doom impression. Slow and eerie as the rhythm section retains its repetitiveness, while the guitars and keyboards produce sounds creating a sci-fi atmosphere. This goes on for about the first eight minutes, then it goes into a chaotic black metal frenzy for the last four minutes. "Reika Maisemassa" follows that as the perfect interlude between the albums first three tracks and the last two. An instrumental with soundtrack qualities, think "Arboria (Planet of the Tree Men)" off Queen's 'Flash Gordon'. Keeping with my theme, the last two tracks serve as the approach and eventual landing at whatever destination this mission was set for. "Olen Aukaissut Uuden Silman", which is the most black metal song on the album, takes off with some speed. Most of this the album is mid-paced to slower. This song resembles Nachtmystium's "Decimation, Annihilation", taking the "cult" black metal approach while still maintaining all the psychedelia. Everything mentioned above leads up to the epic fifteen minute closer "Ympyra OnVilva Tomussa", this song starts off slow and soft resembling Pink Floyd's "Set the Controls for the Heart of the Sun". It the builds to an amazing climatic finish. This is the perfect closer. 'Valonielu' is a fantastic album. I believe that one should definitely listen to their previous works to fully appreciate what this band has to offer. They have shown progression from each release to the next. 'Valonielu' takes the strongest elements from their prior releases and puts them all together here. Although, I can not read Finnish, this album has the feel of a concept album. Each track is necessary and seems to have the flow of a solitary concept. Oranssi Pazuzu is at the top of the black metal ladder currently along side Blut aus Nord, Deathspell Omega and Mayhem. They offer an original, creative sound and prove that they are not going away anytime soon. Rush out to your local record store or visit your favorite online store and get this into your hands as soon as possible. (Brian Grebenz)

(Svart Records - 2013)
Score: 80

http://www.oranssipazuzu.com/