Saturday, September 27, 2014

Burzum


Burzum - Belus
Byelobog Productions, 2010
Genre: Black Metal

1. Leukes Renkespill (Introduksjon)
2. Belus' Død
3. Glemselens Elv
4. Kaimadalthas' Nedstigning
5. Sverddans
6. Keliohesten
7. Morgenrøde
8. Belus' Tilbakekomst (Konklusjon)





It's been quite a long time since we've heard from Varg. The only original material being produced over the years has been two Ambient albums, which I am debating on whether to get to round out my Burzum collection or not. While in prison he gave us some delightful antics and interviews over the years. Now that Varg has, finally, been released from prison, he has immediately returned to music and writing a new Black Metal album. I was, honestly, quite skeptical if I should bother purchasing this. Burzum albums have always been on the rather pricey side and I wasn't convinced it was really worth the risk, but being assured it was Black Metal, I took the plunge and handed over my money. As with the Misanthropy releases it comes as a very beautiful digipak. There is a booklet containing lyrics and he sort of returns to the black and white approach, but this time it is a dark picture of a forest being used for the background... so its a little better than straight black.

So, without further ado, Varg returned to Grieghallen to record his latest material. Grieghallen has, naturally, gone through some upgrades since the early 90's. Pytten is certainly a better engineer and with modern equipment they captured the most crisp sounding Burzum album. While it may not have the dirty rawness of the early days, "Belus" is a surprisingly great album. Varg actually tries to stick to a more usual style of vocal rather than going after his old high pitched wail of the old days. His vocals fit very well in the music and they have a sort of dry rasp to them, similar in style to Satyr, I would say. If you look at "Filosofem" and look through the dates of when the songs were written "Jesus' Tod" was one of the last songs written before Varg went to jail. Much of the "Belus" album really picks up on the direction from where this song left off. It has that sort of dark chord structuring found on Thorns' "Trondertun Tape". So, naturally I really fell in love with this sound a lot. He sort of goes the Gorgoroth route with "Belus' Død" and only plays one riff for the duration as Gorgoroth has done from time to time. The riff, luckily is quite atmospheric and actually works pretty well letting the listener just bask in the atmosphere. It transitions into the epic "Glemselens Elv" perfectly and this is where the album really picks up its strength.  I don't know how much Varg has paid attention to modern Black Metal during his prison years, but parts of "Keliohesten" have a very reminiscent Mgla feel to them, which is very awesome. Unfortunately, like his debut album there is a very out of place sounding song with "Sverddans". It's this album's version of "War" really. It has a gritty punkier feel to it and it really annihilates the atmospheric experience we were so enraptured with from the other songs. Based on the worthless intro piece I was a little worried about the concluding song being nearly nine minutes long. One of the stark differences on "Belus" is that there is no keyboard section. All of the atmosphere is driven by the guitar work, so I was worried with the final song and wondered if this was where the Ambient would finally show up. It doesn't! It's an instrumental track, sure, but it's actually a well done droning piece to close the album on.

In the end this is essentially the album I've been wanting Varg to release since I've heard Burzum. Aside from the track "Sverddans" this album is nearly perfect to me. Sure, I do miss the Ambient blended with Black Metal as before, but I think "Belus" presents a fine show with an album that feels a lot more well thought out than before. I think that's more what I'm getting at, this is the album I wanted to hear because it was all actual Black Metal and I don't have any extensive Ambient tracks that throw off the nature of the Black Metal. "Belus" is a strong return for Burzum, hopefully this will keep up in the future for Varg.


Note: I haven't decided if I'm going to continue on and pick-up the two all Ambient releases after this. I heard them many many years ago and I no longer remember what they sound like. But for the sake of filling in the discography gaps, I may pick them up and review them eventually.

Burzum - Filosofem
Misanthropy Records, 1996
Genre: Atmospheric Black Metal

1. Dunkelheit
2. Jesus' Tod
3. Erblicket die Töchter des Firmaments
4. Gebrechlichkeit I
5. Rundgang um die transzendentale Sáule der Singularitát
6. Gebrechlickeit II






Just when it seemed Burzum couldn't possibly have any more material, here we have "Filosofem" being released in 1996. It's heralded as his best work by far and that's, essentially, correct. The material was actually recorded in March, 1993 and its taken three years for it to see the light of day. I can't even imagine what the landscape of Black Metal would have been like with this being released in 1993. This is the first digipak that comes with a very nice full booklet as well adding a lot more art to be viewed. The layout isn't all that great, but its a step up from the simple all black and white approach from the prior releases.

Despite this being recorded closely to "Hvis lyset tar oss" the recording quality is strikingly different. One could attribute this to the fact it claims to have been recorded in a different studio called Breidablik Tonstudio, but according to the 2010 re-edition this is not the case. Like all the other Burzum albums it was recorded in Greighallen. Production wise, this is probably the best with respect to recording quality. Writing wise its on par with "Hvis lyset tar oss". The vocal performance this time around was also very different. Rather than going after his usual high pitched wails, Varg has defaulted to using distortion on his voice and he just lightly growls through this. Luckily, Varg's music is overwhelmingly atmospheric so the use of vocals is quite sparse throughout the experience. The albums first parts are the real meat of the release and the real reason to be listening to this. The Black Metal sections are not too different from what we found on the prior album, and part of me wishes he had just released all of this kind of material together, rather than recording every four months or so. I feel like this approach yielded the effect that you have albums with throw away material, rather than working towards a very strong full-length. The material on here, for whatever, reminds me of something that paved the way for the future style of Lunar Aurora and Paysage d'Hiver. The song "Jesus' Tod" has some serious reminiscence to a more Thorns styled structure which is wonderful to hear. Unfortunately, once the Black Metal is over we are subjected to two instrumental tracks. The first is twenty-five minutes of Ambient... and not very good Ambient. This was the aspect that marred "Hvis lyset tar oss", but at least that was under fifteen minutes, this is just unreasonable to listen to for so long. Sitting through this has made "Hvis lyset tar oss" a better album alone... but wait, if you thought it was over "Gebrechlichkeit II" begins to play and more Ambient ensues. This time it is rife with strange noises under a somber piano line. Luckily this is only about eight minutes in length. We get a little hopeful as a guitar appears in the background and steadily gets a little louder, but then we realize this never really goes anywhere. The addition of the guitar into this Ambient tracks certainly saves it from being the overwhelming bore of the prior track, but at the end of the day its still just more Ambient. Furthermore, Ambient hasn't really been Varg's strong suit, so while I thought "Hvis lyset tar oss" had a poor ending, this is just so much worse. It's almost to the point where I've forgotten the Black Metal now...

In the end this may not be the best album because of the last two songs, but what we do have in the ways of Black Metal are very good. I think I do actually like "Hvis lyset tar oss" a bit more on an objective level, but "Filsofem" is easily my second favorite from these early years. These last two albums are certainly the most influential material from Burzum and it certainly transcends the mans fame outside the music in my opinion in the end. At this juncture I figured we would never hear from Burzum again... but history has shown a different outcome.


Burzum - Hvis lyset tar oss
Misanthropy Records, 1994
Genre: Atmospheric Black Metal

1. Det som en gang var
2. Hvis lyset tar oss
3. Inn i slottet fra droemmen
4. Tomhet










Despite being in prison somehow Varg is still releasing Black Metal album. The reason behind this is because he recorded this material back in September, 1992 in Grieghallen Studio. 1992 seems to have been an overly productive year for Varg and with output that frequent, I can't help but wonder what Varg's musical landscape would have become if he had never murdered Euronymous. If this album had been released in early 1993 it would have been so much more influential compared to his actual debut. I imagine there were delays in releasing this considering the arrest and despite the back saying 1993, this was eventually released in 1994.

If you thought "Det some engang var" was some engaging and atmospheric material, you are in for quite the shock. The opening song is nearly fifteen minutes long and it really sets a gold standard for how the rest of Atmospheric Black Metal should proceed. Much of the atmospheric bands follow this format of slow churning music with soaring keyboards to help round out the majestic sound. Furthermore the music is played over a time span where the listener can easily get lost in the sounds. Future bands like Paysage d'Hiver would combine this with outright Ambient and push the speed envelope in a way that gave the same affect as the more mid-paced feel we find on "Hvist lyset tar oss". The title track has sections that have this massive droning affect that would later be used by the likes of Hate Forest. The third song "Inn is slottet fra droemmen" is probably the weakest on the recording, because the first half is only okay compared to the other two prior tracks. In the context of other music, its actually quite good, but compared to the other two tracks its not as strong until the halfway point. I, somewhat, got the feeling that the first part was performed in a somewhat sloppy fashion, which isn't too surprising given that Varg was never the greatest instrumentalist out there, but his writing is often off the charts incredible. In the first part of the song he tries to play with a bit more dissonance, which is an interesting thing to play with, but it doesn't quite fit with the melodic and epic nature of the other material. Halfway through this transitions into some of the most beautiful and epic material he's ever written and I sort of wish the song was just that over and over. The final track is a fourteen minute Ambient piece. I keep trying to tell myself this was recorded in 1992, so not to expect very much, but its a rather daunting thing to listen to. The keyboard settings chosen have a sort of whispy spacey feel, rather than a majestic epic feel, which would actually fit with the music. He really should have stuck with a more dungeon synth approach as with the song "Han som reiste", which I think would've fit this album a lot more. I think if he had played some Black Metal over these he may have inadvertently beaten Darkspace to the punch for this feel, but, alas, it is only the synth recording.

Even though the album ends on a low note, we can't deny how incredible the rest of the music is, or how influential it was. I would have figured this was the end of the Burzum discography for many years and what a high note to end on really. At the very least we really made to the birth of proper Atmospheric Black Metal and the world is, honestly, better off for it. "Hvis lyset tar oss" is truly a must have of the Burzum discography in my opinion.


Burzum - Det Som Engang Var
Cymophane, 1993
Genre: Black Metal

1. Den onde kysten
2. Key to the Gate
3. En Ring til aa Herske
4. Lost Wisdom
5. Han som reiste
6. Naar Himelen Klarner
7. Snu mikrokosmos tegn
8. Svarte troner






Despite being released in 1993, this was originally recorded in April of 1992, just a few months after the debut in the famed Grieghallen Studio, which is where many Black Metal bands in Norway went to record. This is probably where Varg started getting fed-up with Euronymous' lack of releasing his material. Rather than put this album out on Deathlike Silence, Varg created his own label and put this out on his own. Originally, "Aske" was supposed to come out after this, but that clearly never happened. This was further emphasized by the fact that ten days prior to this he murdered Euronymous. I'm sure the release of this album hitting that soon after killing one of the founding fathers of Black Metal left quite the sour note with many bands and fans alike. From these early days there has always been this undercurrent of a Burzum vs. Mayhem kind of ideal throughout the scene. I think throughout this I've always fallen pretty solidly on the Mayhem camp's side. Varg's actions were clearly overly selfish, not to mention bringing Snorre Ruch into the whole thing just made things worse for the genre and the lack of Ruch's involvement over a ten year span of time is sad as well, nevermind removing what Mayhem perhaps could have grown into if Euronymous still lived.

However, we cannot deny the historical merits of his musical works. Insane man aside, this music has greatly influenced a large portion of the Black Metal genre. And on that note I finally did buckle and purchase these early Burzum works. The editions I have are the Misanthropy Records pressings in beautiful digipak and this one came out in 1994. So whether or not the character of Varg matters to you, we must look at his music anyway if we are to see some of the foundation works of the early Black Metal scene.

The music is quite a bit different from the debut and really brings Burzum into their own sound. I feel like these recordings are also a lot more focused than the self-titled. Here Varg focuses more on creating epic and rather droning atmospheres. This is really where the influence for Atmospheric Black Metal completely took off. The way "Key to the Gate" begins doesn't really lead us to think this and it is truly the only part of this album that is far out of place. Eventually the song fades into a
lengthy and beautiful atmosphere, where if it wasn't for that first riff we would all have quite a wonderful immersion into this world. The album seems heavily influenced by Lord the Rings, even more so than the first. This fantasy leaning can easily be seen on the cover which looks just like the cover for Dungeon & Dragons module "The Temple of Elemental Evil" pictured on the right. There is even an instrumental keyboard track on here "Han som reiste", which is no doubt one of the earliest Ambient styles of this nature. It clearly influenced the likes of Mortiis on his excellent dungeon synth albums and there's even a lighter flair at the end that is very reminiscent of Mortiis' "Crypts" release. I'm sure this one song influenced Mortiis and he really just fleshed out the idea to a full album length.

Aspects of this album certainly stand the test of time, but I think what this release influenced in the future has been of even greater benefit in some regards. I just wish Black Metal had gotten over the Varg style vocals while playing this style of Black Metal. Sometimes they work, but he is not the greatest vocalist and the focus on the high pitched wails rather detracts from the experience. The addition of the sort of chanting approach really worked especially well with songs on here and that was a nice addition from the first release. The only track I can certainly do without is "Svart trone", which is basically ambient noise with Varg making weird noises throughout. Luckily, I don't think this really influenced much of anything in the grand scheme of things.

Truly a legendary release in the annals of Black Metal. We can see the trend of Atmospheric Black Metal really start to gain some ground and I can only imagine how incredible this would have been if it had been released around the recording session of 1992.


Burzum - Aske
Deathlike Silence, 1993
Genre: Black Metal

1. Stemmen fra Taarnet
2. Dominus Sathanas
3. A Lost Forgotten Sad Spirit













Now for one of the ballsiest album covers in the whole of Black Metal. It is right up there with Mayhem's "Dawn of the Black Hearts". On the cover is featured the burned husk of the Fantoft Stave church in Norway, which Varg allegedly burned down. This really drove the point home that Black Metal is a war against Christianity and further solidified that such beliefs are unwelcome in the genre. This is one of the aspects where I make it part of the definition of the genre. This also seems to be where problems with Euronymous began to appear for Varg. "Aske" was intended to be released after the second full-length "Det some Engang Var", but this release was delayed and Varg blamed Euronymous for this delay. So, we have "Aske" hit first in the discography.

The question comes up if the music on this EP can live up to the cover. Things start off very promising because "Stemmen fra Taarnet" is a great song. Despite having drumming sometimes derived from Punk, Varg made it work decently in the mix. The recording quality is far superior to the debut and the song has a sort of catchy folky feel to it. This would, no doubt, influence the likes of Satyricon's "Dark Medieval Times" in later years. "Dominus Sathanas" is a slow brooding song, which is, once again, entirely different from the opening song. It's an instrumental song, which is rather curious given the length of the release. But if you consider it as a sort of "outro" piece for the first song it might make more sense. The closing track is a re-recording of "A Lost Forgotten Sad Spirit". This is one of the more frustrating parts of the re-release by Misanthropy, it never included the original recording and it only features this one, so I'm not sure I've ever heard the original song before. The production quality on this re-edition is very good and I have no complaints about that. Varg's vocals feel a lot more accessible on these recordings than on the debut. He still uses the higher range, but I feel like it fits a bit better within this recording quality. Still, they are not the best vocals out there, but they're low enough in the mix as not to be overwhelming.

In the end I'm not quite sure this lives up to the album cover. But this does show some marked improvement to the Burzum sound and way of doing things. I think it's heading in a better direction than the debut and I would have been looking forward to the next full-length upon hearing this release.


Burzum - Burzum
Deathlike Silence, 1992
Genre: Black Metal

1. Feeble Screams from Forests Unknown
2. Ea, Lord of the Depths
3. Spell of Destruction
4. Channelling the Power of Souls into a New God
5. War
6. The Crying Orc
7. A Lost Forgotten Sad Spirit
8. My Journey to the Stars
9. Dungeons of Darkness




Delving back into the legendary early days. I'm going to try and conjure up what I thought of this when I first heard it in the 90's. As you can see from the picture I never got the original Burzum releases as they came out, I didn't get into them until about 1996 and by then Misanthropy Records had been repressing the albums in very nice digipaks. Regardless of how crazy I think Vikernes is, I, for whatever reason, was never a die-hard fan of Burzum's music. I completely acknowledge the merit of the art in the greater context of Black Metal. I'm really not going to bother delving back into Burzum's demo days, because I feel their debut really encompasses the vast majority of that material.

Revisiting this in 2014, brings back nostalgic memories of my early forays into Black Metal, but I still have the same general feeling of this album back then. I, personally, find this a rather mediocre release in the grand scheme of things. Even by 1992 Emperor's demo was better, Darkthrone's debut was stronger etc. This was during a time frame when all kinds of murder and general mayhem were being committed by some of the bands in the scene, which gave them more fame than their music probably would have. One of the major changes Burzum brought was reference to Tolkien's "Lord of the Rings", which became a favored topic in Black Metal over the years by a surprisingly large amount of projects. Burzum take their name from a line of dark speech found in the first book. The name itself

Musically, this is actually a very varied release. Much of the music feels inspired by the likes of Bathory and Thorns. "Ea, Lord of the Depths" has chord structuring pulled right out the Thorns style and structuring. Then there are tracks that feel closer to Bathory's "Blood Fire Death" in style. The general approach is not too dissimilar from Darkthrone with the more mid-paced blast beats to slower paced drumming. There are a couple instrumental tracks that feel very out of place, like "The Crying Orc", which really goes nowhere and is too short to care about much. The song "War" really comes out of left field. The song has this gritty punky feel and features a guitar solo performed by Euronymous. Its so out of place on the album that you just wonder why it is there. I think this is one of the major reasons I had a hard time getting into Burzum. There was no general atmosphere to the music that I could really get behind, because before you knew it he was onto something else influenced by some other band. The album eventually closes with "Dungeons of Darkness" and that is just a giant waste of space. I think its meant to be ominous, but after so much variation you're just tired of it. There are some good songs on here, but the variation mars that overall experience for me, plus having a vocal performance that was not very endearing.

Burzum wound up influencing a fringe break off of Black Metal more than the general scene, because a lot of his material seems to have spawned into the DSBM scene in later years. His penchant for high pitched vocals, which sound awful to me, has really made it a staple of that scene altogether. Bands that did this better were acts such as Bethlehem and Silencer, but they probably bore some influence from Dani Filth in those stages. Dani Filth was likely influenced by Burzum's approach vocally and just taking that to a far more extreme level. Further why I usually dislike that vocal approach much. The only album I've ever heard the extreme high pitched vocals sound decent was in Hecate Enthroned's "Slaughter of Innocence". So that's one of the regions in which this album influenced the future, but by this point in time this style of vocals wasn't appealing to me in general.

While there are many people out there who are quite taken with Burzum, I prefer the albums that came after this more than anything. The debut was just okay, but the lack of direction is very understandable. You have to remember that Black Metal was still being defined at this time, so bands were trying to really figure out where to take the genre. I don't feel like things got really underway until about 1993 or so, and up until then a lot of bands were trying to work their way out of the Death Metal and Thrash Metal trappings of the early days. I will never besmirch Burzum's influence on the greater scene musically, but their debut just didn't capture my imagination, even in the mid-90's when I was getting into the genre. Still, as far as an historical archive is concerned, this album really needs to be experienced at some point if you really want to get a sense of the genres history.


Tuesday, September 9, 2014

Infamous


Infamous - Rovine e Disperazione
Eremita Produzioni, 2014
Genre: Atmospheric Black Metal

1. Disperazione I
2. Rovine I
3. Rovine II
4. Rovine III
5. Disperazione II











It is with "Rovine e Disperazione" that swiftly caught my attention when I started hearing samples during its time of release. Infamous have truly crafted something wonderful with this album. As soon as I heard the samples for this I swiftly tracked down this album and I was lucky enough to get a copy. Like their first album, this is also limited to 200 copies.

Prior to this, I had really only heard one song off this album and decided to back track their discography first. "Rovine e Disperazione" is definitely the high point of their discography. This album returns to just S.A. handling everything and this makes things all the better, because I do prefer his vocals over the vocalist he had participate on "Abisso". I think S.A. has a darker quality to his voice that melds with Infamous' sound a lot more cleanly... also, the no clean singing works better for this band. "Rovine e Disperazione" really brings this bands sound to the highest points. I hear tinges of ColdWorld being melded with their usual Sargeist core riffing and this creates a wonderfully cold and desolate blend to the music. All the while having this sort of majestic and soaring quality. It's actually a blend I've been experimenting with in my own music and it really creates a wonderful texture to the music. Infamous' dense production really makes that blend work quite well, which is where that hopeless desolate feeling comes into play for their sound. Their additional inclusion of more clean guitar sections really pulls this album together in an even stronger fashion, if that's possible at this point. We saw that showing up with "Abisso", but here they've included it in more sections and the blend with music is simply beautiful. It really gives the music a more dynamic quality where it lulls the listener before returning to the Black Metal, which is perfect for a more atmospheric approach to the music.

"Rovine e Disperazione" is an album that really impressed me. The palette with which S.A. is playing is very interesting and isn't just a rehashing of things we've heard before, despite the fact that the blend is from well known projects. He's managed to bring us something that sounds relatively fresh from the nature of the production quality and so on. There's a decent chance this will wind up in my top 10 for 2014 list, it really is that strong. I highly recommend this for fans of Sargeist, ColdWorld, and more atmospheric Black Metal in general.


Infamous - Abisso
Novecento Produzioni, 2013
Genre: Black Metal

1. Acid Disease
2. Antarctica
3. III
4. Abisso
5. Life's Erosion
6. Isolation










Infamous return after a couple years with only an EP... I'm actually not entirely sure how this qualifies as an EP being six songs and over thirty minutes in length... but that's what they're calling it. There has been some slight shifting in the line-up. The core musician writing and performing the music is still here, but in addition a vocalist has been added with Wlku and they have also written the lyrics. Given how much I liked S.A.' vocals on the prior split, I'm sort of sad to see this, but Wlku did a decent job with the music.

Infamous continue where their debut left off with their strange interplay between upbeat sections and utterly depressing passages, fueled through riffing inspired by Sargeist. I think they are still playing with how to best execute these elements, but "Abisso" offers some decent material. If you enjoyed the debut "Abisso" really picks up where that left off and I can't imagine anyone being too disappointed in this release. They've moved away from keyboards to create that melancholic texture during sections, and instead have fallen into using clean guitar styled passages. This sounds a lot better with their sound and chord structurings. Just listen to how well "Life's Erosion" closes. I would really love to see them do more in this vein. The only complaint I have with this recording is that with the new vocalist they seem to experiment with some clean vocal sections. Luckily this is not something that shows up very often, but in the opening song there are a couple parts with clean vocals. Here they work okay, because they're quite low in the mix and give a sort of dark feel to the music. However, when they show up again in "III", they're more in the foreground of the mix and it just sounds awful. Again, this is only one section of the song, but it really marred the whole thing for me.

Overeally, this is a decent EP/Full-Length, depending on what you'd want to call it. I don't think it's quite as good as "Of Solitude and Silence", but they are experimenting with elements that could make their songs stronger. Other elements make it weaker, so you wind up with ups and downs quite often on this release. Hopefully, some of the experimentation will be sorted out by the next release. I do like the vast majority of the material.


Désespoir / Suicidal Years / Infamous / Lux Funestus - Anthems of Misery
Maa Productions, 2013
Genre: Black Metal

Désespoir:
1. Intro - Anthems of Misery
2. In My World of Silence
3. Morgen: Grauen
4. Im Auge des Sturms
Suicidal Years:
5. No More Life
6. In My Dreams
7. The Last Sail
Infamous:
8. Ground's Entrails
9. Shadow I
10. Solitude
Lux Funestus:
11. July Sound
12. Ausencia de Sentimientos
13. When the Summer Breeze... Brings Your Memory

Side Désespoir: ...coming eventually...
Side Suicidal Years: ...coming eventually...
Side Lux Funestus: ...coming eventually...
Side Infamous:

I've missed out on the prior years compilation, so my collection picks up with this four way split. A couple of the tracks from the compilation are re-recorded here. I tend to hate these kinds of splits, because bands can be drastically different, but sometimes good material can show up here. As with other releases involving Infamous, this is limited to 500 copies. Also, as with Infamous releases, there isn't much in the way of a booklet. Just a folded sheet with band names and liner notes about the recordings and members only. Since it covers all four bands things are a little cramped in the interior of the book.

Infamous submit three songs to this compilation. It opens with a new song called "Ground's Entrails" and it is quite short. It doesn't have the usual atmosphere from Infamous though and feels very different. It's a very upbeat song in the vein of Sargeist, but also has some atmospheric moments as before, but it's hard to get immersed in the song since it is only a little over three minutes in length. Plus the abrupt mood changes makes the song feel fairly flawed at times. I hope this is not a new direction for the band, but I will say I like the vocal performance a lot more. They're more of a mid-ranged style of Black Metal as opposed to the higher pitched screams on the debut full-length. At times the tone feels similar to M. from Mgla. The other two songs are much better in my opinion. "Shadow I" appeared on the compilation from 2012, but I have no idea what year this was originally made. This song is quite well done and more in line with what heard on the debut album. It has its upbeat moments, but it really closes on this dense and dark tone that is just awesome. I really love where this song wound up going. The closing track "Solitude" is actually taken from the demo from 2011. This is a really great song and it conjures up memories of what Cendres has done on their tape. It has this tense dissonance to the song, which creates this sort of chilling and haunting feel. I thought this was pretty well done. The only issue, is that since this is an older song, they tried to use the more high-pitched vocals the whole time, which sort of takes away from the musical experience a little bit. But overall it is a fine song.

In the end we have three extremely different songs from Infamous. I tend to like the older lengthier material. Perhaps the new song was just an experiment, to see how it would be received in the community and hence it only appears on the split. Regardless, based on the full-length, I look forward to what is coming next from this project.


Infamous - Of Solitude and Silence
Novecento Produzioni, 2011
Genre: Black Metal

1. Of Solitude and Silence
2. Rex Verminorum
3. Grey Euphoria
4. Human Scum
5. Spiritual Desolation
6. Lugore











I got interested in this project when I heard their recent 2014 release. From there I decided to start back tracking the project and despite having a name that isn't very good, the music is actually really well done. So, naturally by this time I had long missed out on demos, of which there is one before this. I've also missed out on the original pressing of this album, since it was limited to 200 copies. So, I've since picked up the repress by Obscure Abhorrence from 2013 pictured on the right.
I think I prefer the original layout a bit more, the new art direction seems extremely hard to read.

The first thing you'll notice about this band is how dense the production feels. It's almost as if you are under water in many ways, and while many people will likely make-fun of that quality, it really works with the style Infamous going after. The majority of the riffs on this album seem to be inspired from Sargeist primarily, but giving it this production quality gives the music an extremely different feel. Not all of the riffs keep this feel though and there are aspects of songs I don't like that much, such as "Spiritual Desolation" when the slow riff plays with the keyboard. It just doesn't feel in place with the atmosphere of the album. Some parts just sound uplifting amidst all the depressive elements surrounding those sections. Infamous does seem to pull a lot from the Depressive Suicidal scene of Black Metal, but their approach to the creation of the music feels very different. While they do seem to have the higher pitched vocal element, the vocals are mixed so far in the background as to not be annoying or overwhelming. This is probably one of the major reasons I could get into this release.

This is actually a pretty good debut album. It certainly doesn't bring that much new to the world of Black Metal, but it does have a certain level of quality that I can appreciate quite a bit. For the listeners, now it is just a waiting game to see if Infamous can write something that goes beyond their mere influences, something that is entirely their own really. Starting with a strong debut like this gives me a lot of hope that better things will come. Failing originality, at the bare minimum we are guaranteed some well done Black Metal.


Thursday, September 4, 2014

Stigma Diabolicum

Changed named to Thorns

Stigma Diabolicum - Luna de Nocturnus
Self-Released, 1989
Genre: Black Metal

1. Mare Frigoris
2. Into the Promised Land
3. Lacus de Luna







Here we have to spend some time with history. I feel like this is where a lot of the problems start in Black Metal. This project is almost entirely long forgotten, except for those that followed Thorns in the mid-90's and I came to the Black Metal scene a little late and naturally missed out on all these late 80's and early 90's demo tapes that were traded around Norway. But if you really want to see where the modern incarnation of Black Metal started, its truly here. Due to how unknown this project was at the time people see the genre start with Mayhem... but I've tended to argue against this for many years. Furthermore, some Music Historian wrote a book in the early 2000's talking about "waves" and now everyone talks about these Thrash Metal bands that played Black Metal. This confuses me, because when you listen to bands like Bathory's first album, it sounds so much more related to Thrash than anything Black Metal attempts to achieve musically. You can chalk all this up to opinion, naturally, but after listening to this genre for twenty some-odd years I feel quite strongly about this assessment. I feel a little more vindicated on this now, since Fenriz seems to corroborate the fact that It was Ruche plus Euronymous that invented the style. In the early days of Mayhem's work with releases like "Pure Fucking Armageddon" and "Deathcrush" I think they were more closely related to what Venom initially envisioned Black Metal to be. It was more closely related to the Speed/Thrash style of the times with a Punk edge and listening to that today you really hear how different those songs sound, regardless of how legendary they are. They certainly don't have the atmospheric edge of "De Mysteriis dom Sathanas" and Mayhem's shift feels extremely sudden in many respects. Now, I don't know who wrote what when and I'm focusing just on when material was released, but after 1987 Mayhem was pretty silent in the releasing music department.

In between the release of Deathcrush and when Mayhem appears to have started writing again Snorre Ruch put together the Stigma Diabolicum project, on which he performed guitar and bass. This is, undoubtedly an entirely different approach to anything we've heard prior in the metal scene. This, to me, is truly what changed history and where a new genre came into being. There is no denying the fact that it was Euronymous that really made the movement happen, but as far as the sound of the genre, it happens here. Even if Mayhem's rehearsal from 1990 with "Freezing Moon" was written prior to Stigma Diabolicum, I can find no evidence of this. However, I do know that Stigma Diabolicum originally started in about 1988 or so, so it's likely the Stigma Diabolicum material was around first, seeing as how Mayhem was restructuring itself at the time.

Now this brings us to the shift in thinking. "Lunas de Nocturnus" starts with some eerie organ styled keyboard, which is nothing all that new. The demo's first song is "Into the Promised Land", which only lasts a little over two minutes, but the guitar riffs are very good. The opening riff has a Thrash feel to it, which is sort of expected coming from that genre originally. But from here the song delves into a tremolo picked scale riff and then a slow and eerie riff, before returning to the faster Thrash riff. In all of this, it is undeniable that a very specific atmosphere is being created. It just sounds so much darker and sinister than anything else before this. This point is driven home even further with the next song "Lacus de Luna". Just listen to how disturbing that song sounds. It's heavily rhythmic, but it plays with dissonance in such a way that it really makes the atmosphere all the more tangible. This is the grand shift in the concept of Black Metal, atmosphere. It's a very different way to engage the listener and it feels very different from listening to Death Metal or Thrash Metal. From here, to me, Euronymous took that approach and then amped them up with a faster approach, as we initially saw on the "Pure Fucking Armageddon" demo and we see that Mayhem releases a rehearsal tape in 1990 with "Freezing Moon", which has a very similar atmosphere to the Stigma Diabolicum material. It's really the blending of these two approaches that gives birth to the genre as a whole.

This new approach to writing is really where a truly different genre is born. This is why I get so worked up about people talking about the genre with respect to "waves", because back then there were no waves. There was just Black Metal being made. What Venom initially intended with the style got morphed and after this there was too much momentum to take back that definition. Since this genre has been going strong for over twenty years, I think people need to accept the fact that Black Metal really started with this shift in writing approach with Stigma Diabolicum and Euronymous (post 1989). It creates so much confusion in the scene to see bands like Hellhammer labeled as "Black Metal" and even Slayer's first four albums... which I've actually seen people label as Black Metal. I actually don't care what the original genre intent was at the time... that's not what it ended up becoming. I think this is why we have two very different ideas of what that genre began as today.

Thursday, August 28, 2014

Anaal Nathrakh


Anaal Nathrakh - Vanitas
Candlelight Records, 2012
Genre: Black Metal

1. The Blood-Dimmed Tide
2. Forging Towards the Sunset
3. To Spite the Face
4. Todos Somos Humanos
5. In Coelo Quies, Tout Finis ici Bas
6. You Can't Save Me So Stop Fucking Trying
7. Make Glorious the Embrace of Saturn
8. Feeding the Beast
9. Of Fire, and Fucking Pigs
10. A Metaphor for the Dead





Here we have a new Anaal Nathrakh on the heels of "Passion". The last time this happened it didn't go so well for Anaal Nathrakh and they wound up releasing one of their worst albums in their catalog. I'm happy to report that "Vanitas" is a ridiculously strong album in their catalog. I did have some glimmer of hope for it, since there were some really strong elements on "Passion" and "Vanitas" really takes everything I didn't like on "Passion" and makes it go away.

With "Vanitas" I think Irrumator finally figured out how to make the elements of "In the Constellation of the Black Widow" really work the strong parts of "Passion". This made "Vanitas" as strong as "Eschaton" without making it feel like Anaal Nathrakh were re-treading that album. I think this is the direction the band was really trying to find over the past few years as they desperately tried not to redo things from the first three full-lengths, while staying true to their original foundation in sound. They seem to have given up on trying to make the melodic thing work, and instead have gone more for a haunting Black Metal element. Perhaps this forced the vocal line in a particular direction, but there are very few clean elements on this album. I won't complain, because this really works in  Anaal Nathrakh's favor in the grand scheme of things. The end result is an album that feels huge and dark at the same time.

"Vanitas" is truly a special release. It's been a long time since I've heard an Anaal Nathrakh album that was flawless and I enjoyed every single track. I'm really glad they managed to put this together and had it in them to really write something this consistently solid. Who knows what is in store for us next... but after having analyzed their whole catalog I'm sort of prepared for some decent albums that won't blow me away until another "Eschaton" or "Vanitas" rears its ugly head. However, Anaal Nathrakh make it well worth our wait for these immense gems that are just overflowing with solid material. "Vanitas" brings me back to the days of what made this band so alluring to get into.


Anaal Nathrakh - Passion
Candlelight Records, 2011
Genre: Black Metal

1. Violenti Non Fit Iniuria
2. Drug-Fucking Abomination
3. Post Traumatic Stress Euphoria
4. Le Diabolique est l'Ami du Simplement Mal
5. Locus of Damnation
6. Tod Huetet Uebel
7. Paragon Pariah
8. Who Thinks of the Executioner?
9. Ashes Screaming Silence
10. Portrait of the Artist






Based on the last two albums, I wasn't all that excited with the release of "Passion". I didn't have the highest expectations, I wasn't expecting to be blown away, but I did expect something decent at least. I usually feel safe buying Anaal Nathrakh albums in that regard. As soon as I put this in the player, I felt like something was different. The past couple years seem to have done well for Anaal Nathrakh in the writing department.

Starting with "Violenti Non Fit Iniuria" this really had a different feel compared to the prior releases. A lot of the material feels like Black Metal has been heavily infused into the major aspects of their sound. The very opening of the song is very reminiscent of Behemoth's "Evangelion". "Drug-Fucking Abomination" actually have moments that heavily remind me of Irrumator's other project Frost,which I also thought was pretty well done. It's interesting to see that this song also is over seven minutes in length and probably one of the best on the album, because it is just overflowing with atmosphere. They seem to experiment a bit with track length on parts and have one song that is only a minute long and another that is under two minutes, giving these tracks a sort of Napalm Death styled Grind approach. However, it's really not much of real Grind, because the songs structuring is still heavily Black Metal or Death Metal in nature. There were moments that didn't really work with the writing, but this has some of the strongest material since the days of "Eschaton." When looking at this album deeper, though, I think they should have stuck with an EP. Stretching this to a full-length really weakened it. The only track I, outright, didn't like was "Tod Huetet Uebel", which features Landfemann, the legendary vocalist featured on Bethlehem's "Dictius te Necare". Unfortunately, I don't think the years have been so kind to his voice and I'm not sure his approach really works with Anaal Nathrakh all that much, to be honest. After this point I feel "Passion" weakens a bit, but I loved the strong start and really thought this added a lot to the Anaal Nathrakh discography at times.

Luckily on "Passion" the good moments really outweigh the bad. I would definitely like to hear more along the lines of "Violenti Non Fit Iniuria", "Drug-Fucking Abomination" and "Le Diabolique est l'Ami du Simplement Mal", which are the finest songs on the album to me. In the grand scheme of things I think this is one of their strongest efforts in a while and absolutely worth getting your hands on.


Anaal Nathrakh - In the Constellation of the Black Widow
Candlelight Records, 2009
Genre: Black/Death Metal

1. In the Constellation of the Black Widow
2. I am the Wrath of Gods and the Desolation of the Earth
3. More of Fire than Blood
4. The Unbearable Filth of the Soul
5. Terror in the Mind of God
6. So Be It
7. The Lucifer Effect
8. Oil Upon the Sores of Lepers
9. Satanarchrist
10. Blood Eagles Carved on the Backs of Innocents



I remember when I first got this, I wasn't paying as close to the music scene as I normally did. In fact I had outright stopped doing any kind of review process, but when I was flipping through albums in my local music store, I came across a new Anaal Nathrakh. I thought it was quite a short time between albums.... but it was me who had lost track of time and I see that there has been a couple years between releases. This seems to be the best approach for Anaal Nathrakh, I feel that if they don't spend enough time letting ideas distill a poor quality album results.

"In the Constellation of the Black Widow" doesn't really bring us anything new from the camp of Anaal Nathrakh, but it does wrest control from the rather lackluster display found on "Hell is Empty and All the Devils are Here". This also marks a return to Candlelight for the band, which is sort of interesting to have albums released in this disjointed way from labels. Either way this is a step in the right direction from the previous album. I was a little worried at first, because the first song had those melodic moments that show up all over and I wasn't sure if we were in for more of the same. They do show up here more often on this album, but the approach is used a bit more sparingly and the sections with this have more haunting guitar lines than melodic a lot of times. Just listen to "More of Fire than Blood". They also upped their levels of chaos and at times there are reminiscent moments of "The Codex Necro", but these are few and far between. "The Unbearable Filth of the Soul" seems to be heavily influenced by Fear Factory with the way the main riff is laid out, and seems like an attempt to have this album's version of "Regression to the Mean". Fear Factory structuring shows up again with the opening riff of "Oil Upon the Sores of Lepers". I say Fear Factory over the likes of Meshuggah, because it's not as djent sounding and focuses more on the triplet feel.

Overall, this is a decent album. It's a much stronger effort than "Hell is Empty and All the Devils are Here". While there is some return to the chaotic style, this album doesn't feel as edge of your seat intense as their earlier works. I think, at times, Anaal Nathrakh struggles to really find what to do next and is defaulting with experimenting with textures for good or ill. I feel like Irrumator is trying to find the best way to execute the use of melody amidst all the chaos and he hasn't quite nailed that careful balance, so the albums come off sounding far more subdued. There are certainly still some strong moments, but in the end I'm still going to pull out "Eschaton" before putting this on when I'm in the mood for Anaal Nathrakh. "In the Constellation of the Black Widow", while not the best they've ever done, is still a very fair album from the project, which is still very strong compared to many other bands out there. There's really nothing like this band out there and I'll take a fair effort from Anaal Nathrakh way before I start listening to the likes of modern Dimmu Borgir trash.


Anaal Nathrakh - Hell is Empty and All the Devils are Here
Feto Records, 2007
Genre: Black/Death Metal

1. Solifugae
2. Der Hölle Rache Kocht in Meinem Herzen
3. Screaming for the Unborn
4. Virus Bomb
5. The Final Absolution
6. Shatter the Empyrean
7. Lama Sabachthani
8. Until the World Stops Turning
9. Genetic Noose
10. Sanction Extremis (Kill them All)
11. Castigation and Betrayal



Usually when a band releases an album every couple of years with everything being well written they get into a good routine of writing and releasing material. Well, Anaal Nathrakh are sort of breaking that buy releasing an album in the following year after "Eschaton". This tends to send up some red flags as to how rushed the album may have been. In a lot of ways, I really think this album comes off as a bit rushed and on the result for Anaal Nathrakh is actually a less intense and less chaotic album. This album has its moments and certain new aspects work well, but it's not really the same. It's really not a tempering of the material found on the earlier works.

While there are some wonderful riffs on this album, I feel they are few and far between. Instead the music tends to aim for a crunchier and heavier riffing style to create the foundation of the song. The songs will then deviate into a far more melodic sequence where Vitriol tends to sing clean over it. It seems the album is quite formulaic in this respect and I remember feeling a little disappointed in it when I first heard it. Later, I put it on and thought it sounded better, but I was listening to it more in the background and not paying much attention. Apparently that's when I find this album good... when I don't pay attention to it. In analyzing it this time round, I am disappointed in it. It's actually not a great follow-up to "Eschaton". It doesn't have the same level of intoxicating riffing as the prior albums. Songs like "Genetic Noose" show up and give us great atmosphere, but these are few and far between on this album.

Ultimately, Anaal Nathrakh's devotion to melody and formulaic songwriting really marred this album for me. It just doesn't stand out in the discography. I get the impression they opted for heaviness over writing good riffs in many sections of this album. There are great riffs once in a while, but this is very different from the vast collection of great riffs on each of their prior releases. With so much clean singing taking place on this album and the extra melodic guitar lines, we walk away with a release that just doesn't measure up to Anaal Nathrakh's usual levels of intensity and viciousness. The song that works best with the new melodic approach is "Virus Bomb" in my opinion. The only song that comes close to the insanity of prior efforts is the closing track "Castigation and Betrayal" and perhaps this is why people look more favorable on this release. I figure people stop paying attention to a large portion of this album, but it ends on such an intense note, they figure nothing has really changed that much. I bet that's what I thought when I re-listened the second time. In any event, don't expect the same Anaal Nathrakh this time around...


Anaal Nathrakh - Eschaton
Season of Mist, 2006
Genre: Black Metal

1. Bellum Omnium Contra Omnes
2. Between Shit and Piss We are Born
3. Time Wave Zero
4. The Destroying Angel
5. Waiting for the Barbarians
6. The Yellow King
7. When the Lion Devours both Dragon and Child
8. The Necrogeddon
9. Regression to the Mean




After "Domine Non es Dignus" won me back to looking forward to Anaal Nathrakh, I was excited to a see new release imminent on the horizon. Little did I know, at the time, that it would swiftly launch itself into being of my favorite Anaal Nathrakh albums of all time. "Eschaton" really is that good and it truly stands the test of time for me. Further embracing the media's reaction as being one of the most chaotic acts out there "Eschaton" sports album art right out of Chaos Math with Fractal patterns being used all over.

While "Domine Non es Dignus" brought us more experimentation and Death Metal into the Anaal Nathrakh sound "Eschaton" brings us back to a heavier focus of Black Metal. They also really figured out how to manage the level of chaos in their sound so that the songs are both memorable and ridiculously intense at the same time. They do this by really taking care on structuring the fast and slow riffs together. The strange part with Anaal Nathrakh is that the viciousness and intensity is what really sticks out to people and that's what everyone seems to remember hearing. But if you sit down and really analyze "Eschaton" it's really not that fast or intense of an album from a musical stand point. Somehow, Anaal Nathrakh has figured out how to give the impression of utter intensity without actually playing all that intense. It's quite striking, because after "Eschaton" is over its really how you feel about what you just heard. However, there are a lot of atmospheric and haunting parts and the Death Metal riff in "The Destroying Angel" is downright catchy! The clean verse section of "When the Lion Devours both Dragon and Child" is outright melodic, it doesn't even come off as ugly or disgusting. What do we remember though? The intensity, the viciousness, and the vile nature of the album's overall aesthetic. I can't figure out why... and it really isn't all in Vitriol's voice. Certainly his frantic and varied vocal performance helps, but that's not even remotely close to where it all is. Perhaps this is a major reason I love this album... it manages to make something seem intense in a very contradictory fashion to me, it really makes me appreciate what they've developed here. Also, the album closes with "Regression to the Mean", which is an incredibly atmospheric song and a concept from statistics... even though I never found statistically analysis very interesting, the song is amazing though.

This truly is an "Eschaton" for the band. I feel this is where they harnessed their craft in such a measured and well thought out way that it is one of their strongest releases. This really gives off a very catastrophic feel and it truly feels like you just experienced a whirlwind of chaos, this is even the case despite the song closing on the moody and slow "Regression to the Mean". It's a very interesting album and extremely well thought out if you spend time really looking at everything within their system of creation.


Anaal Nathrakh - Domine Non es Dignus
Season of Mist, 2004
Genre: Black/Death Metal

1. I Wish I could Vomit Blood on You... ...People
2. The Oblivion Gene
3. Do Not Speak
4. Procreation of the Wretched
5. To Err is Human, to Dream Futile
6. Revaluation of All Values (Tractatus Alogico Misanthropicus)
7. The Final Destruction of Dignity (Die Letzten Tage der Menschheit)
8. Swallow the World
9. This Cannot be the End
10. Rage, Rage Against the Dying of the Light



After an EP that I found lack luster, I was beginning to worry that Anaal Nathrakh only had one really great release in them. Sometimes that happens, a band puts out such a devastating debut, they just can't ever seem to overcome that first album. Luckily, Anaal Nathrakh have a lot more to offer than just the one album. Enter "Domine Non es Dignus", which is a very proper follow-up to "The Codex Necro" and actually does make some effort to advance their sound.

Aside from the intro, which I always skip, this is a great album. The intro is just someone throwing up with all kinds of effects put on the recording. It's actually vastly annoying. However, once we get into "The Oblivion Gene" we realize why we've all picked up this album. They've really made some advances from the EP. "Domine Non es Dignus" returns to the intensity of "The Codex Necro", but they managed to create a far more thought out sounding album. It doesn't sound as chaotic or frantic compared to the debut. Here they also begin to back off from the harsh Black Metal assault and infuse a bit more Death Metal into their riffing style and sound. With this they've also infused a level of atmosphere into some of their compositions, which makes for a much more dynamic listen. Due to this "Domine Non es Dignus" doesn't come off as insane and chaotic, instead it feels a bit more tempered and focused. This isn't, necessarily, a bad thing, since Anaal Nathrakh keep a good level of interest in their writing, so it works pretty well in the end. Still, I'm not sure something as uncompromising as "The Codex Necro" would be easy to pull off again. Vitriol's vocals are as menacing as ever and he certainly rounds out his skill levels with many tracks, even including clean vocals in some sections, which we were first introduced to on the EP. There's even one part of "Do Not Speak" where he absolutely nails the vocal style of John Tardy from Obituary, and I've never heard someone hit that tone as perfectly... other than Tardy himself! That was certainly a pleasant surprise.

In the end, while this is not a return to "The Codex Necro" insanity, they do aim to up the powerful nature of their music with this and it hits hard in that regard. They definitely are trying to play around with the balance of the insanity and the more thought out writing approaches and "Domine Non es Dignus" yields quite the experience in this regard. I really have no complains about this album and I think it is one of their finest. I quite enjoy their new approach far more than what they were doing on the EP, so perhaps that's why this stands out a lot for me.


Anaal Nathrakh - When Fire Rains Down from the Sky, Mankind will Reap as it has Sown
Mordgrimm, 2003
Genre: Black/Death Metal

1. Cataclysmic Nihilism
2. How the Angels Fly in (We can Never be Forgiven)
3. Never Fucking Again
4. Genesis of the Antichrist
5. Atavism
6. When Fire Rains Down from the Sky, Mankind will Reap as it has Sown
BBC Rock Show Live 23, March 2005:
7. Human, All too Fucking Human
8. Swallow the World
9. Do Not Speak


I remember when this came out a friend of mine had an original copy of it, so I was able to give it a listen before I purchased it. Initially I thought it was a pretty weak release and it wasn't until years later when I wanted to fill in my Anaal Nathrakh collection that I eventually purchased a copy of this. The version I have is the 2005 edition published by Earache, which includes the BBC show recorded in 2005.

I after "The Codex Necro" Anaal Nathrakh were left wondering what they could possibly do next. They had already marked their footprint on the metal scene, but what could possibly be next. On this release they clearly wanted to keep their core sound there and in many ways this doesn't really deviate much from the original path. I feel like a little more Death Metal has started creeping into their sound a little bit, but in the grand scheme of Anaal Nathrakh, I'm not really convinced this is a great effort on their part. For some reason, things don't sound as insane and frantic. The shift in this quality to their music feels like they've left something truly missing from their sound. My favorite song on here is probably "Never Fucking Again", because it has this wonderful riff that is vaguely reminiscent of "Submission is for the Weak", but it doesn't have the same edge to it... so in that regard it's also a little disappointing. I think in some tracks they were trying to go for a more haunting and dark edge, but it just doesn't fit amidst all the ferocity they try to include from the first album. I think this is certainly the case with the inclusion of clean vocals on the title track. While Vitriol's vocals are, as expected, good even in this regard, it just didn't help this release any.

The bonus section is mostly taken off of "Domine Non es Dignus", but they open with a track from "The Codex Necro". Apparently, Nick Barker and Shane Embury helped out to fill out the performance. These are extremely interesting versions to listen to, because you can really hear how much is done in studio. They do a good job capturing the original sound, but it feels a lot more raw and minimal compared to the original recording. Vitriol's vocals sound just as devastating here, proving he can really pull this kind of material off in a live setting.

I really hope Anaal Nathrakh can find a solid direction for their sound after their immense debut. Some fans may enjoy this, but I think its only good for the die-hards that really need a complete discography. This just doesn't have the same fire as before. I really hope they can get back some of the intensity for the next full-length.


Anaal Nathrakh - The Codex Necro
Mordgrimm, 2001
Genre: Black Metal

1. The Supreme Necrotic Audnance
2. When Humanity is Cancer
3. Submission is for the Weak
4. Pandemonic Hyperblast
5. Paradigm Shift - Annihilation
6. The Technogoat
7. Incipid Flock
8. Human, All too Fucking Human
9. The Codex Necro







Here is the first exposure I've ever had to Anaal Nathrakh, and at first glance I remember thinking it was pretty good. I mostly remember it being outrageously intense. Anaal Nathrakh have managed to bring the foundation set out in the demos into a far more cohesive light. Instead of really choosing a particular direction, they ended up blending a lot of the earlier material together in a sort of immense melting pot. It makes for quite an incredible debut in the grand scheme of things.

Now, I do agree with a lot of reviewers out there who say Anaal Nathrakh isn't really doing anything new. And that is true, they don't have a new take on the riffing in Black Metal or the way instruments are performed, everything is pretty old hat in that regard. However, when this came out I still felt this was incredibly different from anything else I had heard at the time. It really stood out in my mind as being the most chaotically intense album I had ever heard. Track after track of this album is just an unrelenting punishment, and its interesting to note that not all of the tracks are played at top speed. Despite having sections of songs that are quite slow, they always manage to keep up that devastating essence throughout this recording. I feel like this is one of the major missteps in Marduk's "Panzer Division Marduk", for Anaal Nathrakh have released an album that is far beyond the normal levels of extreme. Even though the general performance isn't hugely different, its really the combination of elements that does this album justice. Vitriol's vocal performance is off the charts in terms of frantic insanity. Some songs have me wondering if he's falling on the "Slowly We Rot" approach from early Obituary where he's just screaming and not actually saying anything. That being said, another aspect of the heaviness is generated by the down tuned and crushing guitar tone, which bears resemblance to Death Metal almost. The riffing is almost entirely Black Metal though. Appropriately to add to this insane atmosphere you will a bit sampling from the movie Event Horizon, which is quite apt as being one of the more terrifying movies of its time.

"The Codex Necro" is quite the whirlwind of an experience. To say their debut is a success is an understatement, especially by 2014 as I write this given their well known appeal in the scene. I feel that "The Codex Necro" holds a special place in my mind as a benchmark of intensity. In some ways Anaal Nathrakh would push the envelope further in the future... but they would never really recreate the intoxicating feel of "Submission is for the Weak".


Anaal Nathrakh - Total Fucking Necro
Leviaphonic Records, 1999
Genre: Black Metal

Anaal Nathrakh: 1999
1. Anaal Nathrakh
2. Necrodeath
3. Ice Blasting Storm Winds
4. Carnage (Mayhem Cover)
Total Fucking Necro: 1999
5. The Supreme Necrotic Audnance
6. Satanarchrist
7. L.E.T.H.A.L.: Diabolic
8. De Mysteriis dom Sathanas (Mayhem Cover)
9. The Technogoat
Bonus:
10. Necrogeddon



I don't own Anaal Nathrakh's demos individually, instead I picked up this compilation shortly after hearing their album "The Codex Necro". I missed out on the original pressing of this release as well, but I managed to obtain the Rage of Achilles version, which is much better than the original. The track listing above reflects the Rage of Achilles version. The version I own has the complete two demos with all the cover songs and bonus track "Necrogeddon", which is the pre-cursor of a track later used on "Domine Non es Dignus". After hearing "The Codex Necro" their material quickly became in high demand. To give you an idea of how old this is, the official Anaal Nathrakh website is housed in a geocities location as stated by the booklet!

I'm actually surprised it took two demos before Anaal Nathrakh got a contract, because after hearing the self-titled demo you can tell this band was really onto something interesting. The band is a duo starring Irrumator on all instruments and programming and V.I.T.R.I.O.L. on vocals... whom I will just call Vitriol at this point. Screw all those periods. One of the shocking things on this release is that this has some of the more realistic sounding drum programming for its time. Even though all this technology was being used Irrumator still managed to keep the music extremely raw, hence the title of the compilation "Total Fucking Necro". The self-titled demo actually has a lot of very catchy and groove styled elements to its style, which is not the norm for late 90's Black Metal. The second demo is truly a shining moment for he project... opening with "The Supreme Necrotic Audnance" we hear this band has already evolved in such a short amount of time. They've seriously upped the intensity level and Vitriol's vocal performance is even more menacing than before. Strangely I feel that "Satanarchrist" mellows out the eel of the albums a little bit. It's a far more melodic song and just doesn't follow the punishing atmosphere of the opening track. From here they proceed to perform one of the better covers of "De Mysteriis dom Sathanas" out there. Part of me sort of wishes they would redo this with their more modern sound, but there's just no replacing the raw viciousness of this I think. Vitriol does a great Atilla for a little while, but then falls into doing his own vocal interpretation, which is really what makes this shine. Its one thing to copy, but can you add your own twist? And he certainly does and the result is something far more frantic than the original. It certainly makes for a great atmosphere.

Between the two demos we have a lot of variation for the project. Catchy sections, some more somber piece, and other absolutely punishing and menacing tracks. Everything has great riffing, but I wonder if they can harness all this power they can apparently wield in their sound. It's obviously time for a full-length to be unleashed next, but we'll see what shape that will take. If I had heard these demos first, I would be wondering what the answer to this question would be.


Pure


Pure - Kingdom of Wrath
Humanity's Plague Productions, 2014
Genre: Black Metal

1. The Nightside Throne
2. Astral Vanity
3. The Red Moon
4. Shroud of Hate
5. Imara
6. This is Life
7. The Last Ritual









If you are familiar with the band Borgne, then you know this musician has a lot to offer. Maybe not in all of his projects... since looking through his roster on Metal-Archives gives a huge smattering across many genres. However, with Pure he delves into the realms of raw Black Metal, which is something I'm very interested in. The name of the project really isn't that great, even if it makes sense given what he's playing. There must be hundreds of bands in existence with this name out there... The art direction certainly fits the project and hearkens back to the mid-90's of Black Metal for me. The booklet contains pictures with just a single line of lyrics here and there to be vague, but enough for us to get a sense of the lyrical concept.

Despite being listed as raw, the recording quality is actually pretty decent. The guitars are a little fuzzier than usual in his later Borgne material. Now that Borgne has trended into the full Atmospheric Black Metal route, Pure reminds me a bit of Borgne's early days, like "II", for example. So, if you've missed that furious harsh edge in the Borgne sound, its being sort of resurrected here. Sometimes the modern version of Borgne can't be escaped in the atmospheric edge of some songs like "The Red Moon" or the length of some of these tracks being nearly ten minutes in cases.  This still has the same high quality in song writing, so it makes for a great album. It's a pretty dynamic experience wending through passages of sheer intensity, while having melancholic sections that bring the listener to a nice lull in the storm of hatred. Tracks like "This is Life" have riffs that really stand out to me and are simply exceptional songs.

While this may not be the "raw" Black Metal people would expect, it's still quite good. It's not raw like Moonblood, or Horna, or any of those bands, so if that's what you're expecting you might be a little disappointed. Still, the strength of writing holds this up quite well, which is something I've come to expect from this musician. It's actually nice to see him return to a more vicious style of Black Metal, perhaps waxing nostalgic as many musicians do after years developing their newer sounds. If you were a fan of the earlier Borgne material this is a must have.