No genre is set in stone, but Black Metal has been through quite a series of self-discoveries since three goons from Newcastle covered themselves in leather and spikes. Belgian six-piece Saille represent what I can’t help but think of as the “niceifying” of Black Metal, and the nine symphonic, atmospheric tracks on Eldritch (Code 666) may come as something of a shock if you’re used to the nastier end of the genre.
Not that this is going to set charts alight anytime soon, of course – by true mainstream standards the factors that make Black Metal unappealing (harsh shrieked vocals, buzzing guitars, sparsely but effectively used blast-beats) are still present, but they’re assembled with a grace, a breadth of expression, even a delicateness that Euronymous would have taken as a personal insult. The pomp and bombast that often characterises much “symphonic” Black Metal is also absent, and it’s a welcome absence – this isn’t Dimmu Borgir thundering away like Mussorgsky conducting Bowser’s Theme, but a much more reflective and considered approach to melodic, keyboard saturated Black Metal. The main reference point that occurred to me while listening was Schammasch, and though Eldritch lacks the depth and profundity of their monstrous Contradiction (Prosthetic), it still speaks positively of their knack for constructing Black Metal which is both catchy and deep.
You’re waiting for the catch, of course, and in this case it’s that Eldritch doesn’t quite have the depth of ideas needed to keep attention across its nine-track length and starts to outstay its welcome a little. There are plenty of excellent ideas for the band to build on, however – from the spoken-word accompaniment of ‘Great God Pan’ to the churningly catchy melodies of ‘Aklo’ – that if they can trim their excess fat and develop more focus next time they might deliver something genuinely special.
For now, Eldritch comes highly recommended for anyone who doesn’t mind their Black Metal on the “nice” side.
7.0/10
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RICHIE HR
With Dead End Kings (Peaceville) being released last year it came as quite surprised that another Katatonia album saw the light last month. However, Dethroned And Uncrowned (Kscope) isn’t just an “another” record. It features stripped down and reworked versions of the Dead End Kings material. Ghost Cult talked with Katatonia guitarist and main composer Anders Nystrom about this remarkable release, the potential of crowdfunding and touring in America.
Italian gothic metallers Ecnephias have been plagued by line-up and label changes since their inception in 1996, alongside not quite knowing their place in the world, and genre hopping more times than most people have had hot meals. However, with a now solid line up and after successfully signing to cult label Code666 it looks like it’s fourth time lucky for the five piece with the release of Necrogod.
Morne play atmospheric doom, not too dissimilar in style to Downfall Of Gaia, for lack of a better way to describe it. From the moment Shadows (Profound Lore) starts playing, an irresistibly thick guitar tone washes over the listener. The pacing is hypnotically consistent, and perfect for headbanging to. That isn’t to say that the album lacks variety when it comes to tempo changes though. The main riff on ‘Coming of Winter’ gallops along, whereas the opening of the final track, ‘Throes’ exhibits more of a droning ambience.
First off, that’s a crap album cover and a crap album title. Fortunately, what lies within album number two from this San Franciscan duo fares much better. The three instrumentals (placed between the other four tracks with vocals) are exquisite. Track two, ‘Irresistible’, with its clean guitar melody washing along on the waves of a gentle breeze, is exactly that. And the contorted electronics of the first half of track four, ‘Please Remember’, as well as the soothing guitar of the second, as disconcerting as they are, have a strange familiarity about them that stir something within that is deep rooted and has been almost forgotten. A touching piece, track six, ‘Windows’, again bears something mystical and transcendent, the soundscape created by its ambient keys and captivating samples is warm and alluring. Were Deafheaven to release just these three tracks as an EP, they would already be on to a winner.
Nightfall is coming, commanding the foul and the vicious beasts to unleash the hordes of hell upon a new generation of damaged mortals. This sixpiece band of thunderous Greek heavyweights are no strangers to the music world. Violet V recently sat down with singer Eftimis Karamidas to discuss the release of their latest album Cassiopaiea and the history, accomplishments and future endeavors of the band.
Feast On Your Gone, the debut album from The Old Wind wasn’t necessarily what I expected from a band with such a moniker. However, after a multitude of listens, it does seem quite fitting. The Old Wind itself is a project by former Breach vocalist Tomas Liljedahl. He wrote and recorded the entire album as a solo project. As such, FOYG sees one man expunging inner demons through music.
Austrian musician Philip Santoll bore his solo project Nonexistence into this world with the excellently received Nihil back in 2007 but since then he has been a little on the quiet side. Thankfully, that silence wrought the impressive Antarctica; a work in which Santoll brought on board Finnish artist Tuomas Saukkonen (Before the Dawn, Black Sun Aeon) in order to produce and offer creative input for the first time in Nonexistence’s life. Saukkonen also lends his talents to the bass and drums on the record and the effect of the collaboration is felt across the entirety of Antarctica – from the steady thrum that the bass injects to proceedings to the monolithic weight of the work as a whole.