Ellende - Lebensnehmer

#FOR FANS OF: Post Black

The black metal scene in the German speaking countries has traditionally been focused on a certain type of black metal where relentless songs were the norm, always intensive but retaining some sense of melody, which I have always found interesting. In recent times bands like the Germans Der Weg Einer Freiheit or the Austrian Ellende, without leaving aside this traditional approach, have increased this sense of melody creating albums where the atmosphere is particularly intense. Now it’s time to turn out our attention to the Austrian project Ellende. This one-man band was created by Lukas Gosch in Graz back in 2011 and this project is exclusively his property though he uses live members to play gigs.

Ellende plays a rather interesting mixture of black metal with atmospheric and post metal influences. From the very beginning, the quality of the stuff composed by Lukas was very good, though this project gained a bigger recognition in the scene thanks to the album 'Todbringer' which caught the attention of many fans. Thanks to this success, Lukas signed a new deal with the always recommendable label Art of Propaganda, which has made possible the release of the third and newest opus 'Lebensnehmer'. From the very first moment that you take a look the its macabre and war related artwork, you realise that this stuff is an ode to darkness and a melancholic approach to existentialism. Ellende’s stuff is primarily black metal with a strong atmospheric and mournful touch, where the guitars play a major role. This instrument´s tone varies from the most furious moments, mixing the most intense black metal with some post influences, and other sections where the riffs have a more tranquil and hypnotic touch. Those parts are the best ones in my humble opinion as they show the intense work Ellende has done composing these tracks. Like the guitars, the rest of instruments vary their tone and pace according to the approach of each song. This makes the compositions to flow very naturally from some fast and furious sections to the most mid-paced and even slow ones, where melodies are more prominent. A nice example of this could be the song “Der Blick Wird Leer”, which contains very contrasted parts. The keys play a secondary role in Ellende, though they have certain moments to shine during very short though inspired sections like in “Augenblick”, for example. Lukas likes to introduce some guitars with a more acoustic touch, as it happens in “Der Wege” or the excellent closing track “Atemzung”. The use of purely acoustic or, like this time, acousticesque electric guitar chords helps to reinforce the atmospheric and gloomy characteristics of Ellende’s music.

Ellende’s third instalment confirms the progression and quality of this Austrian project. 'Lebensnehmer' is an excellent work where the project reinforces its strengths and sounds more confident than ever. This album should help the band to increase its niche of fans, not only in the German speaking lands, but also in every country where people can appreciate this excellently done black metal. (Alain González Artola)

(Art of Propaganda - 2019)
Score: 85

https://ellende.bandcamp.com/album/lebensnehmer

Firtan - Okeanos

#FOR FANS OF: Pagan/Black

Firtan is a well known German band founded in 2010 in Lörrach, a nice city located in Baden-Wüttemberg. From the first inception of this project there are only two original members left. Oliver König, who plays the bass and performs the backing vocals and Philipe Thienger, who plays the guitars, keys and the main vocals. They are accompanied by other two members who have joined the band in the last two years. Firtan plays a blend of pagan and black metal with an atmospheric touch played on the stage with a great passion. Their good performances helped them to carve a cult status among black metal fans across Europe. During these eight years the band has released two EPs and an interesting debut entitled 'Niedergang', reviewed on these pages.

Due to the line-up changes, it has taken some time to compose the sophomore album entitled 'Okeanos'. The second effort is always a pivotal release for any band, because it can confirm the potential of the debut, but it also demands a step forward in the band’s evolution. 'Okeanos' is thankfully a move forward for the band and it should confirm Firtan’s potential in this genre. The album opener “Seegang” is a truly powerful and long track, which sums up Firtan’s characteristics. As it is traditional with many German black metal bands, the vocals are truly powerful, very high pitched and full of hate. Philip makes a great job on vocals with polyvalent and strong screams which fit perfectly well the music. Musically speaking, the band sounds more progressive than ever, adding many tweaks to the compositions. The song flows easily from the heaviest and more straightforward sections to the instrumental and calmer ones, which act as a bridge to the next vigorous section. In those calm sections, acoustic guitars are a commonly used resource which works quite well. Other tracks follow a similar pattern, which is not bad at all, because it means that each track of the album is highly dynamic and brings a wide range of riffs and a progressive touch which make the compositions quite interesting. Though the album is clearly a guitar driven work, it contains some atmospheric touches in the form of occasional keys and the addition of some violins in “Nacht Verweil” and the beautiful and melancholic instrumental “Purpur”. Moreover, the band adds some interesting choirs which shine specially in “Uferlos”. They do sound solemn and dark making this track the most atmospheric one. It´s difficult to choose a favourite track but the closing epic song “Siebente, Letzte Einsamkeit” is indeed a serious contender. In its nine minutes, the composition contains all the characteristics that define this album. The background keys play a good role, while the guitars sound as strong and varied as ever. This is indeed a good way to close this second effort.

In conclusion, Firtan has achieved their target with 'Okeanos' which is supposed to happen with a sophomore album. 'Okeanos' sounds like a step forward reinforcing Firtan’s strong points and being a more mature release, with a stronger progressive nature. A band to follow. (Alain González Artola)

(Art of Propaganda - 2018)
Score: 80

https://firtan.bandcamp.com/album/okeanos

Harakiri for the Sky - III: Trauma

#FOR FANS OF: Post Black, Agalloch, Drudkh

Harakiri for the Sky is a post-black metal band from Vienna, Austria that bends the early Agalloch and later Drudkh template to their own will. This is a group that plays along the lines of Deafheaven, Fen, and Waldgefluster, a branch that has grown out from Ulver's influence and pushed a more artsy black metal direction. In a sound that intertwines the disquiet of lingering melodies with trappings of black metal's second wave intensity, Harakiri for the Sky hints at a monumental abomination in each song throughout 'III: Trauma' and sometimes leaves you high and dry with the post-black style taking the reigns. With high quality production, clean sounding guitars, and little grain to overpower the grandiose instrumentation, this is a far cry from the raw old days. Yet you can deeply inhale the palpable legacy of that earlier passion in the layers of morose melodies and fleeting furors when sorrow morphs into anger.

The Agalloch influence is most prominent in “Dry the River” where guitar notes from “The Melancholy Spirit” of Agalloch's 'Pale Folklore' play at a quick pace ringing in counterpoint to each other and bouncing harmonies off each high note in the lingering riff. In lyrics that describe a journey to unlock the mystic wisdom accumulated by personified natural phenomena, the slow build of this song impresses upon the listener. Harakiri for the Sky gives a deeply satisfying payoff of blasting through the enduring melody as the lyrics follow a metaphorical train of thought culminating in the protagonist's gunshot suicide. Feelings of melancholy and being lost turn to anger and single mindedness through the arc of this woeful mental evolution. “Dry the River” and the opening song, “Calling the Rain”, use this tempered approach to bookend a series of faster and more energetic songs. Of that middle group, “Thanatos” kicks off with an aggressive sound compared to the former languishing journeys and beefs up the vigor invoked by “Funeral Dreams” with another invasion of raw blasting. Where “Funeral Dreams” gave you a small payoff in the dynamite department, “Thanatos” rides its galloping rhythm straight into a guitar assault with blasts all around. Similar to Drudkh's later music, this sound carries forth a great exposition of the range of emotions you're bound to experience from this band with even a bit of a clean vocal delivery in the middle of the track's change-up. “Viaticum” is an anthemic piece similar to “Thanatos”. Both pieces bring in some very expressive drumming to join the simpler and catchier guitar melodies making for a memorable listen with sounds that will echo in your ears long after they are gone.

Harakiri for the Sky is quite an entertaining band and 'III: Trauma' is definitely worth a listen. Don't let the phrase post-black turn you back too quickly because even with the extra emotional parts in this album and palpable depression the band can still bring out some rage. There's a good range to this band's style with plenty of Agalloch influence in songs like “Bury Me” and “Dry the River” checking and balancing with the unfettered aggression of “Thanatos” and “Viaticum”. The desiccated petals of the new school's notes cover over the rot and decay of the older underground and are shaping an eternal burial mound. (Five_Nails)

(Art of Propaganda - 2016)

Score: 80

https://artofpropaganda.bandcamp.com/album/iii-trauma

Anomalie - Between the Light

#PER CHI AMA: Black/Depressive Rock, primi Katatonia 

Direi che è una quasi una costante: avere una one man band e fare black (tipico nelle sue forme più di nicchia, post, ambient o depressive/suicidal). Quasi quasi ci provo anch'io, anche se sicuramente non potrò mai raggiungere i risultati eccellenti del factotum di turno, il musicista austriaco Marrok (già negli Harakiri for the Sky), che con il suo ambizioso progetto Anomalie, esce per l'Art of Propaganda con questo ottimo 'Between the Light'. Il lavoro, etichettato qua e là nel web come post black, suona a mio modo di vedere, molto rock nelle sua matrice interstiziale, non facendosi mancare le ovvie ma non cosi frequenti, sfuriate black. "Blinded" apre il lavoro, col suo cupo connubio basso, batteria e chitarra acustica in una ascesa musicale che poco a poco, assume i contorni della cavalcata epica. Largo spazio quindi alle melodie, alle aperture ariose, alle linee di chitarra pulite, interrotte dalla maestosa e selvaggia irruenza del drumming ma anche da uno splendido assolo conclusivo. Notevole anche la voce, che dallo screaming (chiaro e comprensibile) si muove al sussurrato/parlato/pulito, con estrema disinvoltura. "Not Like Others" è un tuffo nel passato ad omaggiare le origini di questo sound nel monumentale 'Dance of December Souls' dei Katatonia. L'abilità del mastermind Marrok è quella di abbinare al black doom, spruzzate di shoegaze o venature depressive rock, senza ovviamente tralasciare la persuasione musicale che il post rock riesce a donare nei suoi intermezzi acustici. Ecco questa song, ma in generale tutto il lavoro, raccoglie influenze più o meno moderne, che derivano da quegli ambiti musicali che più sono in grado di trasmettere emozioni violente, squarci inguaribili nella nostra anima. Non è detto poi che gli Anomalie riescano a centrare perfettamente l'obiettivo, ma il più delle volte ci vanno vicini. "Tales of a Dead City" ci riprova, giocandosi la carta a sorpresa delle eteree vocals femminili che si alternano allo screaming del vocalist e al sound che qui assume connotati neri come la pece suffragato da una violenta tempesta black ma addolcito anche da un ottimo e inusuale strappo di chitarra. "Oxymora" è una song che non ha molto da chiedere, mentre il malinconico pianoforte in apertura a "Recall to Life" e il cantato corale pulito, riescono a catalizzare la mia attenzione sin da subito: la song prendendo questa volta spunto dalle linee di chitarra di 'Brave Murder Day', avanza straziante tra cupe e ronzanti atmosfere e un altro delizioso assolo conclusivo, vero punto di forza e di originalità di 'Between the Light'. A chiudere, una quanto mai inattesa cover dei Nine Inch Nails, "Hurt", band di cui io non sono assolutamente fan e che trovo fuori luogo dal contesto musicale in cui fino ad ora siamo rimasti immersi. Ma che ci fa qui questa song? Mero riempitivo o dimostrazione di sapersi districare anche in territori musicali diversi? Come diceva il buon Dante, "Ai posteri l'ardua sentenza...". Per ora mi limito a dire che l'opera prima degli Anomalie ha quasi colto nel segno. (Francesco Scarci)

(Art of Propaganda - 2014)

Voto: 70

https://www.facebook.com/The.Anomalie.Experience

Svart - Det Personliga Helvetets Spiral

#PER CHI AMA: Depressive Black, Shining

Se state soffrendo per la mancanza del capitolo numero 9 degli svedesi Shining (l'8½ non conta), non dovete fare altro che acquistare a scatola chiusa questo disco. Non solo perchè gli Svart sono il side project del bassista degli Shining stessi, ma perché non posso negare che “Det Personliga Helvetets Spiral” abbia un sound che richiami quello della band madre. Poco importa perchè il risultato è davvero convincente. L'arpeggio iniziale in “Genom Förgängelsens Dimmor“ e comunque la chitarra acustica che domina le ritmiche dei nostri, ha un fascino davvero intrigante per quella sua aura palesemente depressiva. La prima traccia ha da offrire una proposta ruvida nelle parti più aggressive con le harsh vocals di Draug che si alternano a quelle pulite dei momenti più rilassati, in cui ad emergere è un inedito ibrido post rock/suicidal depressive. “De Ogudaktigas Abyss” ha un piglio più thrash oriented con le chitarre che suonano molto southern, stile Glorior Belli. La song è abbastanza incazzata ma non mi convince granchè; skippo a “Hädanfärd”. Si tratta di una marcia funebre strumentale scritta e composta da Seya Ogino (la prima guest del disco proveniente dagli Acacia), in cui la tetra atmosfera che si respira, odora d'incenso. Il deprimente pianoforte suona spettrale lungo tutto il suo desolato cammino. Catturata nuovamente la mia attenzione, si passa alla title track, minacciosa e mortifera song di otto minuti in cui alle vocals appare Ulf Nylin (Acacia, Murmur, Korpblod), il nostro secondo ospite che offrirà la sua eccellente performance vocale anche nella violentissima “Moder Jords Svärtade Sköte”. Qui invece il ritmo è lento e assai cupo, con i vocalizzi demoniaci del duo Ulf/Draug ad incutere un raffinato timore. Il suono delle chitarre suona ovviamente come gli Shining, non mi dispiace, ma forse Draug dovrebbe migliorare quest'aspetto della sua musica, per non cadere nel facile paragone tra la sua creatura e quella di Niklas Kvarforth. Certo che quando il mastermind svedese inizia a premere sull'acceleratore c'è da aver paura, proprio come nel feroce epilogo del quarto brano. “Suicidiums Evinnerliga Bävan” è un nome e un programma: efferata ed epica, si tratta di un black mid-tempo dalle tinte fosche ma pregne di quella eroica fierezza che contraddistingueva i pezzi dei Bathory. Niente male davvero. Ecco quello che volevo, un po' più di distacco dagli Shining e maggiore voglia di spaziare tra più generi ed influenze; riproporre poi lo spirito di Quorthon, non è quel che si dice una cattiva idea. Il finale poi è carico di trasporto, per uno strepitoso risultato. Di “Moder Jords Svärtade Sköte” vi ho già accennato: song brutale, contraddistinta da ferali blast beat, che nel suo cuore centrale, si abbandona fortunatamente, a splendide e malinconiche atmosfere ancestrali. A chiudere il disco ci pensa “Agnosis”, una sinfonica melodia che mette a tacere l'anima tormentata di Draug. Un disco interessante, ma dal sagace mastermind svedese mi aspetto, per una prossima release, una maggiore distanza da quelli che sono i dettami di casa Shining e pertanto una maggiore personalizzazione della propria musica, peraltro già di per sé molto buona. Disperati. (Francesco Scarci)

(Art of Propaganda - 2013)
Voto: 75

https://www.facebook.com/svartofficial