Luminous Vault consists of guitarist/vocalist Mario Diaz de Leon (Oneirogen, Bloodmist) and bassist/vocalist Samuel Smith (Artificial Brain, Aeviterne), and, as is a current common theme recorded, this pre-pandemic, with the fascinating results only now seeing a release.
“Blut Aus Nord is not available for interviews” proclaims the press release accompanying Disharmonium — Undreamable Abysses (Debemur Morti), the band’s fourteenth full album since their inception in the mid-nineties. That Blut Aus Nord are conspicuous about being enigmatic says a lot about their attitude.
French Avant-Garde Black Metal act Blut aus Nord New Single and Visualizer – “That Cannot Be Dreamed” from its upcoming new album. Disharmonium – Undreamable Abysses releases on May 20th, 2022 via the Debemur-morti label with pre-orders and bundle available now. Watch “That Cannot Be Dreamed” now!Continue reading →
2019 seems an odd year for me to be writing a post about my albums of year, and to have so many albums I want to name-check or mention. See, early in the year I stepped down from my role within Ghost Cult – nothing the Cult did wrong, just a question of life and balance. Stepping back from direct exposure to every rock, metal or alternative release should have meant I had fewer albums to care about, but, actually, it’s afforded me more time with each of the albums that I have connected with.Continue reading →
With Norway being so synonymous with Black Metal from its roots to the present day, by now France can hold an equally high association with its latter-day avant-garde offshoots. As much as black metal was always about experimentation and evolution, France is particularly prominent for bands pushing black metal into even further trajectories, from the philosophical and conceptual reaches of Blut Aus Nord to the likes of Alcest and Deathspell Omega encompassing polar opposite ends of the spectrum. Purveyors of mystique Abduction; whilst not necessarily envelope pushers in comparison to the aforementioned are, however, similarly unconventional in their approach as second album Á L’heure Du Crépuscle (Finisterian Dead End) attests.Continue reading →
Okay, what’s the deal with bands who name themselves after song titles? Being honest about your influences is one thing, of course, but naming yourself after an album- or song-title – especially when it’s from an acknowledged classic of your genre – seems like one step up from being a tribute band and only playing covers.
Stellar Master Elite, you won’t be surprised to learn, are rather fond of Thorns, and the music on III: Eternalism – The Psychospherical Chapter (Essential Purification) takes its main cues from their eponymous classic debut. Shimmering, riff-heavy Black(ish) Metal drenched in spacey synths and effect-laden vocals, it also borrows openly from 666 International (Moonfog) and Grand Declaration Of War (Season of Mist/Necropolis), firmly embracing that late-90’s vision of the future that’s starting to sound like an artefact of a specific place and time. Not that this is pure nostalgia – they’ve also picked up a beefy modern sound that lends a weight and power that few of its predecessors had.
There’s a lot to like about Eternalism – some genuinely effective riffs, a good sense of atmosphere and a strong vocal performance in particular can validate time invested in it – but just as many things against it. It’s very late 90s approach to experimentalism sounds almost twee compared to (slightly) more recent BM deviants like Blut Aus Nord or DSO. The slow pace and reliance on spooky noises can sap some of the energy from the music and create moments of boredom. Most of all, though, they suffer in comparison to the band they’ve taken their name from – while their sound is superficially very similar to that of Thorns, they lack the feeling of sheer, unbridled creativity and otherness that made that album such a punch in the face at the time.
Competent, often engaging but, ultimately, too content to simply re-tread someone else’s former glories, Eternalism is an album that just doesn’t have enough of its own character to justify its existence in a world where “weird” and “experimental” are often more common than generic.
You can say what you like about Niklas Kvarforth, and many quite justifiably and quite rightly do, and his Shining project, now on their ninth release IX – Everyone, Everything, Everywhere, Ends (Season Of Mist), but he has managed to keep his music from sounding like everyone else, and actually doing something with his darkened black metal act that few others do, creating a sound and atmosphere that doesn’t just ape his predecessor, and that varies from album to album while still being identifiable. The actual success rate in terms of quality of output is a bit more hit and miss (with the common reasoning being that it is the odd numbered albums that are worth bothering with, while the even numbered releases can fail to deliver).
With the intent of Shining to cause discomfort and pain to others, and with IX being described as an album to inspire feelings and reflections of revenge and retribution, the music to hand is surprisingly (disappointingly?) safe; there are certainly no challenging moments that the likes of Deathspell Omega or Blut Aus Nord inspire, or horrific atmospheres akin to a Pyrrhon or Portal in full flow (accepting they are megalodons swimming in a very different pool).
With most of the compositions uncurling to around 7 minutes in length, the blueprint here is one that steps outside traditional Black Metal trappings and away from the cold, depressive harshness of their previous works. Opener ‘Vilja & Dröm’ kicks off with a belligerent chugging groove, and the album flits from modern aggressive Black Metal, like Dimmu Borgir minus the symphonics and theatrics, to cleaner, more Gothic moments as, much like Watain did on The Wild Hunt (Century Media), IX brings a Fields of the Nephilim swathe to the proceedings and a cowboy Western kiss to ‘Inga Broar Kvar Att Bränna’ in particular.
In terms of where IX sits in the Kvarforth canon, it’s fair to say it doesn’t rival V: Halmstad as the go to and defining release of his career, but is more of a worthwhile investment of your time than the limp Klagospalmer(both Osmose). Much like a lot of the music on display, though, it sits comfortably in the middle. If its intention is to unnerve and distress, the protagonist does much more of that away from the music, than he does with it.
Abstract is the new brutal. The principal focus of Extreme Metal has always been to make music that sounds as violent or destructive as possible, but over the last couple of years a growing number of bands in different sub-genres have embraced a more subtle approach. Whether it’s Gnaw Their Tongues and their followers blending Black Metal with Noise elements, Blut Aus Nord embracing dissonance or Portal deconstructing familiar Death Metal into something totally other, it’s becoming more common to encounter Extreme Metal which doesn’t so much punch your face as make you doubt its existence.
Primitive Man are one of a current circle of bands – Sea Bastard, Keeper and Indian among their peers – engaged in stripping so-called “Sludge”, that ugly child of Punk and Black Sabbath, of its Blues influences and sense of groove and focussing entirely on its capacity for bleakness and discomfort, and are arguably the leaders in their circle when it comes to abstraction. Home Is Where The Hatred Is (Relapse) continues from their independent debut album Scorn with thirty minutes of abstract rhythms, broken chords and growled vocals that steadfastly refuse to describe anything as uplifting or recognisable as a riff. It’s a thick, genuinely unsettling morass of noise and almost ambient amp abuse, and when they do allow themselves a brief moment of Grind-fuelled violence at the start of Downfall it’s almost a relief – though one that’s rapidly overtaken as the song collapses once again into dissonance and atmospherics. There are similarities to Khanate, of course, in their use of dissonance and unorthodox song structures, but as their name would suggest they seem less artful and refined, more… well… primitive.
It is extremely difficult to criticise HIWTHI, not because it’s without flaws, but because any apparent weaknesses (tracks blurring into another; the lack of satisfying climax; the sense of dislocation and frustration that pervades) are so obviously the result of very deliberate choices by the band. They’re not bugs, to borrow from the clichés of IT, but features. This isn’t the dirty, angry Rock ‘n Roll of Eyehategod or Iron Monkey, and it doesn’t seek to press the same buttons – this is genuinely ugly, unsatisfying, dissonant music from a band who aren’t interested in catharsis or making you rock out.