Prava Kollektiv Roundup

By Seven Leslie. Prava Kollektiv is a “collective” of shadowy bands pumping out a variety of different takes on black metal. As novel as it sounds, the real question is whether it’s worth your time. The Kollektiv’s association with Amor Fati Productions, the late great Fallen Empire, and newly emerging Mystískaos should give you a clue. Read this roundup and you will know for sure.

By Steven Leslie.

Prava Kollektiv is a “collective” of shadowy bands pumping out a variety of different takes on black metal. As novel as it sounds, the real question is whether it’s worth your time. The Kollektiv’s association with Amor Fati Productions, the late great Fallen Empire, and newly emerging Mystískaos should give you a clue. Read this roundup and you will know for sure.


Released on Bandcamp as two separate EPs, Soulmare I & II are thematically connected and should be consumed as a single piece. Clocking in at 21+ minutes each, these are compositions that demand a lot of the listener and will certainly not appeal to everyone. On their face, most of the elements, especially the pained screeches and unnerving synths, will be familiar to fans of the more depressive and atmospheric sides of the black metal genre. While the tools and even the compositions themselves may be familiar, it’s Mahr’s ability to imbue raw emotion into their music that makes them worthy of your time. The music’s creator sounds as if they’re unravelling and succumbing to the darkness. Soulmare I begins as a much more atmospheric, borderline ambient experience that slowly becomes increasingly unhinged. Soulmare II injects more conventional metallic elements, destructive guitar riffs and blasting drums, into the soundscape established on the first track. Paired with Mahr’s unnamed vocalist’s harrowed shrieks and growls, Soulmare II is the crescendo and submission of the soul to total spiritual collapse. There is genuine pain and suffering deeply entwined within these two EPs, making for one of the most potent and unnerving listening experiences I personally have had this year.

If Mahr is the slow, painful descent, Hwwauoch is a wide-eyed celebration of maddening nihilism. Taking the traditional tenants of depressive black metal and injecting them with a syringe full of meth, Hwwauoch flip the genre on its head and create a euphoric, but no less harrowing listening experience. What really makes them stand out from their contemporaries are the excellent basslines, which are the primary melodic component on which the songs are built. Instead of traditional riffing, the guitar lines are utilized more in conjunction with the synths to fill in the space left by the rhythm section, adding significantly to the aural impact and atmospheric depth of the onslaught. Constantly shifting and often feeling on the verge of full scale collapse, Into the Labyrinth of Consciousness is a harrowing, but strangely empowering listen.

On To Exist | To Breathe Voidsphere offer up two 20+ minute tracks of, you guessed it, void-worshipping atmospheric black metal. Don’t be put off by the track lengths or the atmospheric BM tag, as this is a vastly superior and more engaging effort than the genre usually puts forth. While Mahr relied heavily on emotional resonance to engage the listener, and Hwwauoch reveled in aural onslaught, Voidsphere relies on compositional dynamics to keep the listener on the edge of their seat throughout the album’s 42-minute run time. Coming off as an enigmatic, slightly warmer combination of Paysage D’Hiver’s blackened assault and Midnight Odyssey’s majestic heft, Voidsphere inject some much needed life into what has become an increasingly stale genre. What really helps this standout is the band’s ability to maintain the listeners’ attention with their continually shifting focal points. While always maintaining a lo-fi aesthetic, Voidsphere find a way to dramatically propel the emphasis between the different components of their compositions. The riffs, drums, synths, and even vocals all get their moments to shine as each element ebbs and flows in a seemingly random, but actually masterfully constructed dance. This unique songwriting approach ensures that both tracks never outstay their welcome and offer an element of depth and memorability that not many others in this genre can match. All hail the void.

Pharmakeia, the newest group to emerge from the Prava Kollektiv, is in many ways the most straightforward, traditional black/death band. By that I mean they build their songs around what has become a fairly standard framework of distorted tremolo riffs, blasting drums, and blast furnace vocals. What they lack in creative song structures, they more than make up for in raw intensity. This is some seriously vitriolic shit. After a very short, atmospheric intro, Pharmakeia drops the listener into a dense, suffocating wall of sound that rarely relents, and even when it does, it’s only to make the impact of its return that much more potent. It has the oppressive atmosphere of a more straight up black/death version of a band like Abstracter. While the lo-fi, distorted production does somewhat dull the impact of individual riffs, it allows the excellent drumming to stand out. While opener “Invocation” kicks off with some stock blasting, it only takes about two minutes for the drummer to showcase his or her skill and inject some creativity and groove, which is used to great effect throughout the entirety of Pharmakeia. Special mention should also be given to the searing vocal attack, which pairs the ferocity with a less layered, sharper blackened rasp. Overall, Pharmakeia is a solid and welcome addition to the more atmospheric approaches of the other Prava Kollektiv bands and definitely worth keeping an eye on.

Abyssal - A Beacon in the Husk

By Steven Leslie. The best music takes you somewhere. Whether it’s a windswept fjord on a pitch black winter night, a glorious battle for the future of the human race deep within the heart of space, or even deep within yourself as you come face to face with personal

By Steven Leslie.

Artwork by Elijah Tamu.

The best music takes you somewhere. Whether it’s a windswept fjord on a pitch black winter night, a glorious battle for the future of the human race deep within the heart of space, or even deep within yourself as you come face to face with personal traumas that drove you to a life filled with depression and anxiety – great music takes you there and provides the backdrop for your imagination and emotions to run wild. For me personally, no matter what mood I am in, I can throw on a personal favorite and immediately be transported not just to another place, but a completely different emotional state. Sadly, as much as I love the genre, blackened death metal often provides the journey, but lacks the emotional resonance that I crave in music. Enter black/death/doom/ambient UK crew Abyssal with their fourth album in as many years to flip my expectations for the genre on its head and set a new benchmark for emotional impact in this dark artform.

If you are unfamiliar with the band and are wondering what to expect, the band name should clue you in – this is a trip to the heart of darkness, an endless descent into the void. Building upon a base of cavernous, chaotic blackened death metal (similar to Aussie nutcases like Impetuous Ritual or Portal) and injecting elements of funeral doom and dark ambient, Abyssal propels the genre forward with a unique and compelling sound. Album opener ‘Dialogue’ sets the tone for the next hour, opening with a few seconds of ominous ambience before sending the listener careening into a maelstrom of vicious blasts and crushing, trem-picked madness, from which a dissonant and unsettling riff rises to the fore, all against a backdrop of colossal, inhumanely deep funeral doom styled bellows. While the core components will be familiar to most listeners versed in extreme music, the way in which Abyssal commands them and weaves them together is both methodical and compelling. Throughout the track--hell the whole album--there is an unsettling feeling as your mind and emotions are taken over by some diabolical, omnipotent force.

The minds behind Abyssal have harnessed the void itself and used it to create a sonic black hole that drives the listener on an inescapable journey that scars the listener’s mind, in the best way possible. While it’s possible to break down the album track by track, I would be doing the band a disservice, as this is one cohesive piece and should be experienced as such. Heard individually, tracks can be enjoyable, but heard in the context and flow of the album, their true impact reveal themselves. While this makes for a demanding and emotionally draining experience, each subsequent exposure reveals new secrets and insights into the artist's vision, making repeat listens not just compelling, but essential.

I also have to note the excellent pacing and production choices the band have made. While it is very easy for this type of music to become monotonous due to the sheer relentlessness of sound, Abyssal wisely integrates dark ambient and doom into more traditional blast fests to create a constantly shifting landscape of sound. There is a real flow to this monster that keeps the listener engaged without ever allowing their mind to drift away from the journey. The production provides just enough space in the blasting sections to make Abyssal’s colossal riffs stand out and differentiate themselves from movement to movement and song to song. While A Beacon in the Husk is by no means an easy listen, it offers boundless rewards to those willing to give themselves over to the void.

Morgengrau - Blood Oracle

By Steven Leslie. Unspeakable Axe is quickly becoming one of those labels that elicit a blind buy for me. Through a serendipitous combination of similar musical taste and an impeccable level of quality control, literally everything they have

By Steven Leslie.

Artwork by Nick Keller.

Unspeakable Axe is quickly becoming one of those labels that elicit a blind buy for me. Through a serendipitous combination of similar musical taste and an impeccable level of quality control, literally everything they have put out in the last few years has impressed. Their most recent release, Blood Oracle from Texas Death Metal crew Morgengrau, is certainly no exception. Comprised of members whose background includes killer underground bands like Hod, Plutonian Shore (whose newest release is worth checking out as well) and Trench Warfare, their pedigree is certainly not in question.

Blood Oracle offers up 36 minutes of no frills, meaty American styled death metal with a hint of black metal atmospherics which adds a sinister edge to their compositions. A key factor in the album’s success is that every aspect of the music is crafted with the song in mind. This isn’t an album where the technical prowess of the guitarists or the inhuman drum displays will steal the show. Instead, every instrument works in tandem to create a super tight, but not soulless, seething behemoth laying waste to everything in its path. Equally impressive is the band's ability to incorporate other elements into their core style. Whether it’s the doomed out pacing of the aptly named “Poised at the Precipice of Doom”, the thrashy intro to “Forced Exodus” that could have come straight off a Testament album, or the vocal rasp and blackened atmospherics of album opener “Blood Oracle”, Morgengrau showcase a deft hand at incorporating interesting and unique flourishes to their solid death metal base.

Erika Morgengrau’s vocals also deserve a big shout out. They immediately reminded me of a slightly more death metal Laurie Sue Shanaman of Ludicra, never a bad thing. Morgengrau manages to strike that perfect balance between intensity and clarity, allowing the occult drenched lyrics to shine through and drive a compelling narrative through each of their songs. The production also works well in their favor – clean enough to allow their tight performance to really shine without sapping the human feel that is essential to this kind of music. If there is one "complaint" to be had it comes down to the bands consistency. While there are no bad riffs on this entire album, the high general quality means that very few segments or songs stand out amongst the whole. So while I genuinely enjoy the album every time I listen to it, by the end I am hard pressed to point out a truly memorable song or riff. Its but a small price to pay for an otherwise excellent record.

Do yourselves a favor and snag Blood Oracle, and while you are at it, spend some extra time browsing Unspeakable Axes Bandcamp page. I guarantee you won’t be disappointed.

Afsky - Sorg

By Steven Leslie. Good old depressive black metal! A genre with so much potential, sadly squandered by an avalanche of basement dwelling wannabe Xasthurs. Danish band Afsky entered the scene in 2015 with the release of their eponymous EP

By Steven Leslie.


Good old depressive black metal! A genre with so much potential, sadly squandered by an avalanche of basement dwelling wannabe Xasthurs. Danish band Afsky entered the scene in 2015 with the release of their eponymous EP, which did little to elevate the genre beyond that which had already been established. Now, three years later, main man Ole Pedersen Luk returns with Afsky’s debut album Sorg. My how the times have changed.

The first significant shift, and huge win for Afsky, is that Sorg journeys far beyond the realms of standard DSBM. In fact, the album would be better described as an atmospheric black metal record with depressive elements, particularly showcased in the vocal performance. The expansion of sound and vision allows Afsky to offer up a much more compelling and engrossing sound across the albums 48 minute run time. Coupled with a dramatic improvement in songwriting and a focus on crafting dynamic compositions, Sorg is a breath of fresh air in the genre.

Repetition has always been a critical component in both depressive and atmospheric black metal, a fact that is not lost on Luk. However, instead of simply repeating the same riff for hours, Luk starts with a base motif and layers and develops his riffs, adding new textures which propel the songs forward and suck listeners into his well-developed soundscapes. The clean production, by DSBM standards at least, allows Afsky’s compositional development and beautiful layering to really shine through. Coupled with the albums organic sound, the production provides the record’s seven tracks ample breathing room and highlights Luk’s compositional and instrumental development.

Afsky’s songwriting growth is demonstrated on a track like “Sorte vand”, with the opening riff injecting an air of hope, before allowing the sorrow devour the listener, all without any of the saccharine aftertaste many post-black metal bands leave in their wake. By injecting a little bit of light, Afsky makes their darkness all the more profound and impactful, a trick many Depressive and Atmospheric Black bands could learn from. Another standout is “Vættekongen” where a folky intro gives way to a gripping atmospheric black metal composition that reminds of Taake’s early, harsher sound. On top of this, Luk lays down an excellent vocal performance, perfectly balancing both sorrow and anger in every devastating rasp. The variation in riffs, compelling drumming and powerful vocals ensure that even nine minute songs like “Stjernerne” feel half their length, always a good sign for an album.

If there is one complaint, it falls down to the fact that the majority of the album plods along at the same mid-paced speed. While this isn’t noticeable on individual tracks, for old farts like myself who enjoy listening to entire albums all the way through, it does somewhat diminish the overall impact of the album. With a few tempo shifts added to the already drastically improved song compositions, Afsky could be a force to be reckoned with. Minor gripes aside, this really is a compelling addition to both the depressive and atmospheric black metal worlds and is well worth your time if you have any interest in either genre.

Arkheth - 12 Winter Moons Comes the Witches Brew

By Steven Leslie. It’s no secret that it has become increasingly difficult to stand out amidst the ever flowing stream that is black metal these days. Good and even great albums are washed away under a current of static hiss and more kvlt than thou histrionics

By Steven Leslie.

Artwork by T Bare McClough

It’s no secret that it has become increasingly difficult to stand out amidst the ever flowing stream that is black metal these days. Good and even great albums are washed away under a current of static hiss and more kvlt than thou histrionics, sadly leaving many with the impression that modern black metal has moved well past its sell by date. Thankfully there are bands like Arkheth who explore and expand the boundaries of the genre while consciously keeping one foot in the grave, remaining tethered to the atmosphere and sonic elements that helped to make black metal special.

First I have to make mention of that cover. I must admit that the initial impression was less than positive and had me questioning if the black metal tag was some sort of joke; however, closer inspection revealed a genius at work. The cover takes traditional genre elements (forests, witches, etc.) and flips them on their head by injecting a wash of new colors and embellishments, exactly mirroring the bands sonic enhancements to black metal. This is reflected in Opener “Trismegistus” which immediately sets the mood with a riff structure and guitar tone that reminds of an unholy combination of Dødheimsgard’s more recent creations with the otherworldly style of the always excellent Negative Plane. Over the next seven minutes the music continues to warp and mutate, never content to sit still for long – even when the opening riff returns, it is enhanced with new tones and sonic hues courtesy of saxophonist Glenn Wholohan. Over all of this, main man Tyraenos spews out devilish invocations via some of the best black rasps you will hear all year. And that’s just the first song.

Over the remaining four tracks, Arkheth throw all sorts of musical elements into the blender, injecting echoing arpeggios over rock beats that morph into ice cold tremolo picked melodies and blast beats before collapsing into dissonant soundscapes. Tyraenos is no one trick pony vocally either. While his black rasps are a personal favorite, he is just as skillful with his malevolent whispers and downright derange “clean” singing. What makes it remarkable is that it all fits together so well. Unlike Sigh for instance, sorry Sigh fans, which just sounds like the musical kitchen sink was thrown into some demented circus composer’s score, every new tone, sound and sonic element on 12 Winter Moons Comes the Witches Brew feels necessary and planned for maximum impact. Clearly Tyraenos spent the eight years between albums well, honing and sharpening his compositions to a razor’s edge.

Throughout the album’s 47 minutes, the constantly shifting, perverted musical landscape keeps you off balance and toys with your mental state in the best possible way. There is not a moment of this album that doesn’t demand your attention, constantly drawing you back in the second your attention even considers wandering. From the psychedelic cover to the unique and skillful incorporation of saxophone and the utter unpredictability of the songwriting, Arkheth has managed something truly unique, a remarkable achievement in and of itself. That it is so completely engrossing and excellent from start to finish is just the icing on the cake.

Valdur - Divine Cessation

By Steven Leslie. One of the things that made the earliest strains of Death Metal so compelling was the bands’ inherent understanding that for all their boundary pushing extremity, the key to great music was still a groove that sinks

By Steven Leslie.

Cover art by Farron Loathing

One of the things that made the earliest strains of Death Metal so compelling was the bands’ inherent understanding that for all their boundary pushing extremity, the key to great music was still a groove that sinks it’s hooks in and gets listeners moving. As technical skills progress and bands continue to push boundaries, either focusing on displaying their musical proficiency or creating the most atmospherically disturbing take on the genre, that core songwriting element been increasingly neglected.

Undoubtedly Valdur’s newest record Divine Cessation, released in the tail end of 2017, owes a debt to the sound Incantation pioneered. However, unlike many of the teethless rehashes spawned in Incantation’s wake, Valdur has crafted genuinely compelling songs built on infectious dirges and an enveloping sonic darkness that gives the founders a run for their money. While many bands inject one or two killer riffs in a song and suture them together with reckless bouts of chaos, Valdur shows their experience as songwriters by ensuring every section flows together flawlessly, creating songs that will bewitch any fan of atmospheric death metal.

Their astute use of tempo variation is critical to their success, allowing for a diverse and dynamic feel as tracks surge and recede like some unholy army laying siege to a heavily entrenched enemy. The album’s power and range is significantly aided by a stellar drumming performance by Matthew (also of the excellent Sxuperion and Weverin). Instead of simply functioning as the rhythmic backbone of Valdur’s songs, the drums are used to accent and propel the songs forward. Held together by spectacular riff craft and an air-tight interplay between guitar and bass, Matthew is able to play around with enchanting rhythms and charismatic fills, expanding the sound and ensuring that no riff, no matter how long it is sustained, ever gets stale. The crashing cymbals and constantly shifting cavalcades of battery make these catchy, hook-filled hymns all the more compelling.

If there is one area that might hold the record back from being a bona fide classic, it is the vocals. For the most part, Valdur stick to the guttural, echo-drenched sound that is so prolific in the Incantationcore bands of today. While they are competently performed, the warmer, cleaner instrumental production leaves the cavernous vocals sounding rather alien with the rest of the music’s vibe at times. Not necessarily a bad thing, but coupled with a distinct lack of vocal variety, the songs sometimes seem a little more one-dimensional than they actually are. That said, there are a few shining moments when higher register, black metal influenced howls, still drenched in echo and which seem to fit the music better, add that extra touch to take the tracks like “Plague Born of a Dying Star” to the next level. Going forward, continuing pepper their songs with more of this vocal interplay could make them contenders as one of the top modern death metal bands.

Valdur has taken that early groove oriented style and seamlessly integrated it with the atmospheric, murky death metal that is all the rage at the moment. This is an album well worth your time if you enjoy that atmosphere-laced death metal sound. Plus, at a name-your-price download you really can’t lose.

Darkened Nocturn Slaughtercult - Necrovision

By Steven Leslie. It’s often a mystery why some bands explode in popularity, while other equally talented bands wallow in obscurity throughout their existence. Whether it is a case of location, lack of press coverage, poor distribution or just plain old bad luck

By Steven Leslie.

Artwork by Thorny Thoughts Artwork.

It’s often a mystery why some bands explode in popularity, while other equally talented bands wallow in obscurity throughout their existence. Whether it is a case of location, lack of press coverage, poor distribution or just plain old bad luck, it is a shame that excellent bands like Darkened Nocturn Slaughtercult don’t get the recognition that they deserve. Releasing their first demo in 1999, the Germans have not released a bad album in their 10-plus year career. While Necrovision, their fifth full-length, is by no means new, it’s limited availability (at least here in the States) and only recent appearance on Bandcamp will make it new to many listeners. And like all the band's previous works, it offers a plenty of aural pleasures for any fans of second-wave black metal.

Nocturn does follow a fairly traditional black metal template, but they are far from the one-trick, one-dimensional copycat bands that are so prevalent these days. They have continued to hone their sound and songwriting technique over the years, imbuing each and every song with a dark spirit and individual nature that ensure they hold up over repeat listens. The critical component in this is the band’s understanding and use of dynamics. Instead of endless blasts and homogenous dirges, each of Necrovision’s nine songs (excluding the typical throwaway ambient intro) guide the listener through a series of twists and turns, culminating in a diverse and highly satisfying journey into the darkness.

MDF 2015. Photo by Ashley Adams.

Interestingly, the first thing that jumped out on early listens was the spectacular drum performance by Horrn. While he can blast with the best of them, he opts instead to use this technique as an accent instead of the template around which all the songs are built. This helps guarantee that when a blast is employed, it gets the listener's full attention and delivers all the impact of a mac truck colliding with a mini cooper. More impressive is Horrn’s deft usage of fills. He intuitively understands how to use them as accents to help propel the song forward and keep the listener’s attention, without ever sacrificing the underlying beat’s groove. Equally comfortable with a rollicking mid-paced stomp as an all-out percussive onslaught, Horn provides a diverse and powerful backdrop against which Velnias and Onielar overlay their powerful riff work.

The dynamic drum performance is matched by the excellent riff work provided by this duo. As with the drum work, it’s the variety here that helps make Necrovision stand out from its peers. Whether it’s a slower atmospheric build, mid-paced groove, or concussion inducing blitz, Onielar and Velnias seem to have the perfect riff. Equally impressive is their ability to seamlessly blend these tempo changes together, highlighting their adept songwriting skills. This duo shows the same keen understanding of song craft that Horrn does, enabling them to maximize the impact of each and every riff they play. No single hook or melody overstays it’s welcome, constantly shifting and evolving, often leaving the listener begging for more and guaranteeing future listens. The warm production sound is a boon here as well, helping differentiate the band from the slew of black metal bands mining the “icy northern” riff style of their infamous Norwegian peers, and allowing their contagious melodies to firmly sink their hooks in the listeners damaged brain.

Vocally, Onielar delivers the goods as well. While her performance is quite traditional and certainly not as varied as her superb display on the latest Bethlehem release (a must listen if you haven’t already), her harsh croak lays perfectly on top of the music imbuing it with occult atmosphere and satanic might. If you have heard Darkened Nocturn Slaughtercult before, rest assured that the quality of their back catalog is maintained, and if you're new to the band Necrovision is as good a place to start as any. One thing is for sure, this Germanic black metal institution is one that you need to add to your collection.

Old and new Blood: Scum - Garden of Shadows / Setentia - Darkness Transcend

By Steven Leslie. Who doesn’t love Finnish death metal? From Amorphis to Demilich and everywhere between, Finland has produced some world-class death metal bands despite rarely getting the same level of credit their Swedish counterparts receive. Scum is one of those unheralded bands from the early Finnish scene

By Steven Leslie.


Who doesn’t love Finnish death metal? From Amorphis to Demilich and everywhere between, Finland has produced some world-class death metal bands despite rarely getting the same level of credit their Swedish counterparts receive. Scum is one of those unheralded bands from the early Finnish scene who did manage to release a couple of solid full-lengths between 1994-95, before seemingly dropping off the face of the planet. Now, 20 years later, their third full-length Garden of Shadows has finally been released through Blood Music. Don’t be fooled by the timeframe though, this is not some has-been band coming back after years away from the scene to try and cash in on some underground nostalgia. No, this album was actually recorded 1996 and is just seeing the light of day.

Kudos go to Blood Music for recognizing that this little gem deserved to be released, even if it was a few decades late. Falling on the more melodic side of the spectrum, Garden of Shadows offers forty odd minutes of classic sounding death metal. The focus here is not on brutality or speed, but on creating striped down catchy songs that will embed themselves deep into your limbic system. Despite the lack of tempo variation, most songs stick to a doomy mid-pace cadence, there are enough quality riffs and memorable moments to ensure that you won’t get bored. Tying the album together is a somber, almost gothic overall vibe, which fits the music perfectly and helps it transcend the technical elements. For example, while the riffs and solos are excellent throughout, the rhythm section is quite plain and offers very few surprises, but do not detract significantly from the overall experience, as the emotional power over the music outshines any performance deficits. Overall, Garden of Shadows is a memorable slice of death metal history that any fan of early death metal will be happy to sink their teeth into.

Artwork by Roger Moore

Who doesn’t love New Zealand death metal? Okay, maybe it doesn’t have the history of Finland or Sweden, but come on, Ulcerate alone makes up for all of that right? Ulcerate is in fact a great place to start with this six-piece wrecking crew, as the band have been labeled as Ulcerate clones by some of their more vocal detractors (as if having more Ulcerate would be a bad thing). While there is certainly some crossover, especially in the angular, bludgeoning riffs they create, there are also some areas where the band diverge.

First, and most significantly, Setentia aren’t afraid to inject a little more melody into their songs. It’s this melodic element that make their quite technical riffs really stand out from the pack and allow the songs a unique character many of their modern death metal compatriots lack. Even with the extra focus on melody, they never sacrifice any of the suffocating atmosphere that makes this kind of death metal so powerful. Setentia excel at striking a balance between atmosphere, complexity and brutality, and Darkness Transcend is all the better for it.

They also aren’t afraid to let their music breathe a little bit, which allow those crushingly dense moments they share with Ulcerate to do even more damage. It’s akin getting your head out of the water just long enough for you to think you can get a breath, before another wave slams you back down with a lung-full of water as you are submerged back into your watery grave. If I have one complaint about the album, it would be the overly triggered/replaced sounding drums, which is an all too common problem in modern death metal. Despite the issue I have with the drum sound, Hugo Gravelle’s performance behind the kit is top notch, providing a rock solid backbone for the music to flow around. With Darkness Transcend Setentia have given New Zealand’s favorite sons a run for their money and established themselves as a band to watch in the pantheon of modern death metal.

[Today, Friday the 3th, Bandcamp will donate 100% of their share of any purchase you make to the American Civil Liberties Union. Additionally Blood Music will donate their share of all digital downloads purchased to ACLU, Doctors Without Borders, and No One Left Behind]

Nuclear War Now! Label Spotlight: Sacrificio, Death Worship and Bestial Raids

By Steven Leslie. The warlords behind Proclamation have returned. While I’ve seen this, their first full length, referred to as war metal in some places, likely because of the band photos and member history, that actually does Sacrificio a huge disservice.

By Steven Leslie.


The warlords behind Proclamation have returned. While I’ve seen this, their first full length, referred to as war metal in some places, likely because of the band photos and member history, that actually does Sacrificio a huge disservice. The real roots of their sound are based around speed metal and mid 80s proto death and black metal. What makes this album so enjoyable is the way Sacrificio melds that throwback style with the oppressive blackened atmosphere they produced so effectively in their previous band. Most importantly, they manage to craft infectious songs that really stick in your head and keep you coming back for more. This is far from the straightforward, uncompromising blastfest that many would expect based on the member’s history, and it is all the more enjoyable for it. The have also cleaned up the production just enough to highlight their riff work while still keeping a crude and downright evil atmosphere. Throw in some squealing solos and malicious growls and you’ve got thirty-four minutes of blasphemous fun. If you wish that early Venom were as evil as the pretended, took their tongue out of their cheeks and learned to play their instruments just a little better, Sacrificio’s debut full length is for you.

Death Worship is one of those bands who come with a built in cult following. Spawned from a veritable who’s who of the war metal scene, including Ryan Förster (Blasphemy, Conqueror), Nocturnal Grave Desecrator and Black Winds (Blasphemy) and J. Read (Revenge, Axis of Advance, Conqueror), the real question was always going to be how they stack up against their prior bands. Right from the opening seconds of “Abomination Storm” it is obvious you won’t be let down. This offers all the blasting blasphemy you could hope for from such a lineup. Built around J. Read’s bone crushing battery and Ryan Förster’s corrosive riffs, Death Worship drag you kicking and screaming headlong into their hellish vision. While war metal of this kind can easily become monotonous, Death Worship manage to avoid this pitfall by adding a few carefully placed breaks in the otherwise relentlessly feral onslaught. While songs like “Holocaust Altar” offer three straight minutes of machine gun drums, acerbic riffing and savage howls, other tracks like “Desolation Summoning” and “Evocation Chamber” include sections where the drumming slows and the guitars lock into a pestilential groove that will get any metal fan’s head banging. These brief moments of clarity amidst the swarming, auditory onslaught ensure that the blitzing sections never lose their bestial power and continue to hit like a boot heel to the teeth. If you have even a passing fondness for war metal or blackened death metal, do yourself a favor and don’t sleep on this one.

Bestial Raids return after five years to show just why they belong at the top of the war metal pack. They take everything that is great about the genre, the primal power, raw aggression and oppressive atmosphere, and meld it to top notch songwriting that drives their songs deep into the back of your cranium. Unlike many war metal artists, Bestial Raids allow their songs to breath, which makes each and every track infectious, unique and unforgettable. On Master Satan’s Witchery, they manage to harness chaos and channel it into seven deadly odes the devil would be proud to call his own. Aided by a killer drum sound and savage guitar tone, songs like “Descending the Thantifaxath” and “Darkness Visible” veer between speedy, flesh-searing assaults and slower sections that are catchier than syphilis among heroin addicts. There is not a second of this release that is monotonous or superfluous, as the bands primordial power and deft songwriting has produced thirty-three minutes of profound and uncompromising darkness that offers endless replay value. This is the soundtrack to World War III and the total annihilation of all mankind. While they have never released a bad album, Master Satan’s Witchery may well be their best one yet.

Teitanblood - Accursed Skin

By Steven Leslie. You have to love a band that throws a big middle finger up to convention and unafraid of getting lost in the shuffle of December album of the year lists, drops one of the best EPs of the year. That is just what Teitanblood have done with Accursed Skin.

By Steven Leslie.


You have to love a band that throws a big middle finger up to convention and unafraid of getting lost in the shuffle of December album of the year lists, drops one of the best EPs of the year. That is just what Teitanblood have done with Accursed Skin. Teitanblood is a band that should need no introduction to the black/death metal maniacs out there having really burst on the scene and created a slew of imitators with their Seven Chalice's debut full length in 2009. The question was never if this EP was going to be good, but rather would it be as good as their previous material. The answer is a resounding yes.

Teitanblood have continued to develop and expand their songwriting capabilities and Accursed Skin is all the better for it. They have discovered something that most black/death bands miss, a little variety goes a long way. Instead of pounding away in one continuous blast of lawless pandemonium, Teitanblood masterfully intertwine harrowing maelstroms of sonic tumult with some of the downright catchiest riffs they have every created (see 3:30 of "Accursed Skin" for an example). They also do a superb job of utilizing tempo shifts to help keep you off balance, never knowing what is coming next. One minute you are grooving away to a killer mid-paced romp and the next the floor drops out from under you, sending you headfirst into a spiraling vortex of sonic madness and chaos. And it’s that chaos that is key here. While lesser bands use murk, dissonance and layering to cover a lack of riffs and technical deficiencies, Teitanblood harness that sonic chaos and tap into it at will in order to create a hellish atmosphere few other contemporary bands can match.

Special mention has to go out to the vocal performance on this EP. NSK’s vocals are some of the most harrowing and downright oppressive utterances put to record this year, maybe only surpassed by Desolate Defiler’s work in Void Meditation Cult. Again, variety plays a huge role in making his vocals so impactful as he veers between ominously layered howls and twisted, demonic growls. Combined with the aural onslaught of the music, NSK’s performance creates an irresistibly immersive atmosphere to these two hymns. So dim the lights, turn up the volume and enter the void because hell is calling and it is glorious.

Fyrnask - Fórn

By Steven Leslie. While Germany has a long history in the black metal world, they have often played second fiddle to their northern brothers in arms. If there is any justice in this world, bands like Fyrnask will start to change that perception.

By Steven Leslie.

Artwork by Glyn Smyth

While Germany has a long history in the black metal world, they have often played second fiddle to their northern brothers in arms. If there is any justice in this world, bands like Fyrnask will start to change that perception. While Fyrnask’s previous two records have been excellent, the newest manifestation from sole creator Fyrnd is the band’s masterpiece. Fórn is a record that demands your full attention across it’s 54 minute run time. It is not an album of individual songs, instead it is a spiritual and ritual journey divided into 11 compelling parts designed to be listened to has a whole.

Fyrnd is the shaman opening up the arcane and esoteric nature of the world and guiding you through this spiritual expedition. While many of the more atmospheric black metal bands and albums require a certain mood to truly appreciate them, Fórn inherently creates that mood by itself. It is this very ability to control and direct the listener’s emotional response that indicates just how special and powerful this album is. Expertly weaving meditative, ritualistic movements with searing black metal assaults, Fyrnd displays his compositional brilliance by ensuring that not a second of the album is wasted. There is no part of this record that could be cut or embellished upon to make it more impactful. Each trance inducing candlelit ambient instrumental and every ferocious metallic outburst is made more powerful by their deft juxtaposition and intuitive flow. There is an elegance to the songwriting and overall performance that really sets Fyrnask apart from other modern black metal bands.

While the musical compositions are spectacular throughout, Fyrnd’s vocal performance deserves special mention. From the more traditional spiteful black metal roar to ritualistic chants, stirring shouts and haunting whispers, each vocal line is handled with exceptional care. It is rare to find a vocalist who sounds as powerful and effective across all these various styles of vocal delivery. Even more rare is Fyrnd’s ability to understand exactly what type of vocal each section of a song needs to make it transcendent.

This is an album that you will want to invest some time in and in turn will reward you for the effort. Each listen brings new elements to the fore, not because the album is so dense and layered, but because its individual ingredients are so expertly crafted and performed that your focus can shift without the album losing any of its potency. It is pointless to try to analyze individual tracks, as the whole is so much more powerful than its component parts. That is not to say that tracks like "Blótan", which show that for all the album’s focus on atmosphere and ritualistic instrumentals, they can still stand toe to toe with any of the more traditional second-wave worshiping modern black metal bands. But taking the album as a whole allows for the introspective and alchemical nature of Fyrnd’s creation to truly take hold. If you are looking for unrelenting, tremolo-picked blast of fire and brimstone, look elsewhere, but if you are looking for something more personal and introspective, Fórn may well be your black metal album of the year.

Label Spotlight: Iron Bonehead Productions

By Steven Leslie. While I tend to enjoy almost all of Iron Bonehead’s releases, this one was both a surprise and a revelation. From the opening seconds of “The Heartbeat’s Drum” to the closing motif of “Burial Ground Trance” these two Fins had me spellbound.

By Steven Leslie.


While I tend to enjoy almost all of Iron Bonehead’s releases, this one was both a surprise and a revelation. From the opening seconds of “The Heartbeat’s Drum” to the closing motif of “Burial Ground Trance” these two Fins had me spellbound. Much like Sworn to the Dark era Watain, Celestial Grave inject a keen sense of melody and song craft into their art without sacrificing any of the atmosphere or grit black metal requires. Like Bolzer did for black/death metal, Celestial grave have taken the base components of black metal, stirred them up and manifested their own unique concoction. They have managed the rare feat of creating something familiar that still feels completely fresh and new. The spectacular guitar work is the real star here as the band deftly blends more traditional tremolo riffing with grooving melodies and soaring leads creating an intensely emotional and powerful backdrop. I also get hints of the brilliance on Nachtmystium’s Instinct Decay as Celestial Grave is unafraid to expand their sonic palate beyond the standard sounds of traditional black metal. Each of these three tracks takes you on a wondrous and unique journey into the darkness. If you pick up only one of these albums from Iron Bonehead, do yourself a favor and make it this one as this is easily one of the best black metal demo releases of the year.

Cover art by Daniel Corcuera

Comprised of members Ill Omen, Naxul, Grave Upheaval, and Vassafor this was always going to fall well within Iron Bonehead’s wheelhouse. While I usually don’t like the featuring members of review, it’s important to mention here as the music Temple Nightside produce really is a conflagration of those influences. Temple Nightside’s earlier more black metal releases were all solid if not ultimately forgettable. This time around they have embraced the blackened death metal trend that has popped up in the last few years. Good news is they do it well and with enough of their own style to stand out from the crowd. While the vocals definitely fall within the ‘recorded in a distant cave sound’, they have taken a much cleaner approach to their instrumental attack, allowing their crushing, miasmic dirges to really sink their claws in from the first listen. This type of black/death metal lives and dies by its atmosphere, which Temple Nightside unsurprisingly nail with their ponderous, dismal hymns. The funeral doom of Ill Omen’s most recent album also flows through The Hecatomb as the band tap into the same dismal mood and effectively utilize more drawn out tempos to heighten the oppressive nature of the album. If you aren’t a fan of this style of cavernous black death, The Hecatomb is unlikely to convert you. But if you like your death metal dragged through the stygian darkness, this is worth checking out.

Offering up a far more visceral and barbaric take on black/death is Mexico’s Sacrocurse. If there was ever any doubts about why this style is referred to as war metal, they are shattered as soon as you press play. You won’t find anything nice or pretty on this unrelenting, sonic assault. It’s riff after bludgeoning riff delivered over LZ’s blazing inferno of blasts with the occasional dive-bombing solo thrown in to enhance the album’s chaotic nature. ZK’s hate filled, satanic barking ensures that no enemies are left standing and no prisoners are taken. But what really helps Sacrocurse stand out from the pack on Destroying Chapels is their ability to sneak in some seriously catchy riffs within the chaos. Take opener “Total Devastation” for example, which kicks off with a maelstrom of traditional war metal riffing before dropping into a swarming solo that soon makes way for a grooving riff that wouldn’t be out of place on a Bolt Thrower record. And they do this without sacrificing any of the feral nature of their aural onslaught. Little flourishes like this help ensure that each song stands out and that Sacrocurse doesn’t fall into the trap many lesser war metal bands do of turning the EP into an indiscernible mess of noise. If you dig bands like Black Witchery, Bestial Raids or Nechbeyth this will be a great addition to your collection.

Short and to the point 2

By Steven Leslie. Now this is how you combine ambient/atmospheric music with black metal. Titaan appeared out of nowhere earlier this year and dropped easily one of the most impressive debut albums I have heard in years.

By Steven Leslie.


Now this is how you combine ambient/atmospheric music with black metal. Titaan appeared out of nowhere earlier this year and dropped easily one of the most impressive debut albums I have heard in years. What is most impressive is the organic way in which Titaan’s sole member Lalartu is able to organically weave in dark ambient sections and even silence in between absolutely feral blasts of black metal, both building suspense and heightening the intensity of the album’s ferocious moments. This is one that you will want to listen to as a whole and truly immerse yourself in as it careens between utterly oppressive aural onslaughts and engrossing atmospheric sections. The multi-layered vocals also deserve a mention as they blur the line between brutal death grunts and savage blackened shrieks. If you like your occult black metal to take you on a spiritual journey into the heart of darkness, look no further.

Cover art by Morkh

Released in late 2015, Serpents Athirst Heralding Ceremonial Mass Obliteration is another gem of black/death metal out of Sri Lanka. Following in the footsteps of the mighty Genocide Shrines, but bringing enough of their own flavor to the mix, this is one fans of rabid and vicious metal will not want to miss. Eschewing the cavernous death metal sound that is so prolific right now in favor of something far more visceral and intense, Serpents Athirst have made a bold statement with this three-song assault. Utilizing razor sharp riffs that will rend flesh from bone and an absolutely filthy vocal assault puts many black and death metal vocalist’s to shame Heralding will leave you battered, broken and terrified in just under 12 minutes. Can’t wait to hear a full length from these hellraisers.

Artwork by Boris Haimov

Israel isn’t exactly the first place that comes to mind when you think of Luciferian black metal, but that is going to change if Mortuus Umbra has their way. Released towards the tail end of 2015, this excellent EP has sadly slipped under most people’s radars despite its undeniable quality. Catechism manages to achieve the same dissonant and enveloping atmosphere Deathspell Omega are masters of without ever entering into copycat territory. Add to that some truly memorable riffs, expressive and varied screams and an excellent production job, hitting that perfect balance that Watain did on albums like Sworn to the Dark, and you have an occult black metal release that is more than worthy of your dollars and your time.

Artwork by Noir Soufre

This is Virvel av Morkerhatet’s first release since their 2010 debut, but it was definitely worth the six-year wait. Virvel aren’t afraid to show off their technical proficiency on this slab of forward thinking black metal. In fact, it is their ability to utilize various time signatures and angular riffs to create an alien atmosphere that really helps this Ukrainian band stand apart from the overpopulated black metal scene. Even more impressive is the band’s ability to balance their precise riffs with quality songwriting, easily avoiding the technical wankery trap bands this proficient often fall into. This is one that will give you a lot of replay value, as there is lots of variety and nuance to discover as you delve deeper and deeper into it’s 50 minute run time. Not quite as a much of a mind-fuck as Dodheimsgard’s latest, but just as engrossing, give this one a shot if you prefer your black metal shooting for the stars as opposed to the basement.

[DELETED] Twilight Fauna - Shadow of Ancestors

By Steven Leslie. Twilight Fauna is the solo black metal project of a character named Ravenwood. I have usually heard of the project falling under the atmospheric black metal banner, but based only on his latest release, Shadows of Ancestors, a better classification would be ambient black metal, as this album has much more in common with a stripped down Lustre than Wolves in the Throne Room.

By Steven Leslie.


Twilight Fauna is the solo black metal project of a character named Ravenwood. I have usually heard of the project falling under the atmospheric black metal banner, but based only on his latest release, Shadows of Ancestors, a better classification would be ambient black metal, as this album has much more in common with a stripped down Lustre than Wolves in the Throne Room.

There is a cinematic grandeur and stunning beauty to the six long tracks that Twilight Fauna offer up on this release. Pressing play immediately immerses you in rolling hills and breathtaking natural landscapes. A track like "Boring the Auger" is a perfect example, as strummed chords slowly crash gently over an ethereal base melody like waves against the rocky coastline. Twilight Fauna manages to strike a perfect balance between light and dark, bringing the “twilight” in their name to bear in musical form. It’s this balance that makes the Shadows of Ancestors stand out and helps prevent their music from becoming too one-dimensional. The album maintains a slow almost funeral doom pacing with an emphasis on repetition. It's no journey to the stars; instead it remains firmly rooted to the earth and soil. It’s distinctly beautiful, despite being based primarily around swaths of distortion and distant howls - the perfect comedown after a long, hard day.

There is an intangible brilliance at work as Ravenwood manages to weave sublime tapestries of melody with droned-out fuzz. It’s like a meditation soundtrack for the disturbed black metaler’s mind, providing a soundtrack for your next moonlit walk through barren fields or city streets. In fact, barren is a perfect way to describe this album. You really won’t find any instruments that stick out - no guitar lines or drum beats to draw your attention or break your trance. Even when the music shifts, like the wistful acoustic passage in "Purging of Spring", Ravenwood repeats the movement for so long that its initial impact fades away. This is both the album's greatest asset and biggest challenge. While it allows the listener’s mind drift off, it also means that there isn’t much to grab hold of for the short attention span generation. Multiple plays later I am still discovering new parts, not because it is so complex, but because I had drifted off through those sections on previous listens. The other sticking point for some will be the vocals. When done well, as in the "Meadows Afire" the harsh vocals add an extra texture to the music and emotional depth to the song. Other times, the vocals seem tacked on, like "Boring the Augur", where the distant, hollow howls have little to no impact and end up dulling the overall power of the song, when it would be much stronger as a fully ambient, instrumental piece. Luckily, this is just a minor gripe, as the real star here is Ravenwood’s ability to craft enthralling, delicate musical landscapes for listeners to get lost in.

Nine times out of ten an album like this would not connect with me, but this hit all the right notes - building a melancholic but somehow hopeful ambiance on the back of a fairly standard atmospheric black metal template. It is the album’s ability to make you relax and drift away on crashing waves of distortion that makes it worth your time. Next time you want to escape the shackles and mendacity of daily life, give Twilight Fauna a try.

Label Spotlight: Dark Horizon Records

By Steven Leslie. ounded in Fort Wayne, Indiana in 1996 by Andy Newton a.k.a. Lord Typhus of US black metal crew Typhus, Dark Horizon Records specializes primarily in underground black and death metal. A fantastic split from two bands that need no introduction to fans of underground barbarity. Both bands showcase their specific brand of war metal on this split

By Steven Leslie.

Founded in Fort Wayne, Indiana in 1996 by Andy Newton a.k.a. Lord Typhus of US black metal crew Typhus, Dark Horizon Records specializes primarily in underground black and death metal.


A fantastic split from two bands that need no introduction to fans of underground barbarity. Both bands showcase their specific brand of war metal on this split, originally released in 1999. Black Witchery kick things off with a wall of churning guitar riffs, relentless blasting, crashing cymbals and pissed of screams. One of the best things about any Black Witchery release, this one included, is the vocal performance put in by Impurath. His vocal phrasing and the cadence of his delivery adding an additional rhythmical element to the music, making each track that much more impactful. He never fails to find that sweet spot between guttural death metal grunts and harsh black metal shrieks. Black Witchery offers up four tracks and fittingly cap off their end of the split with cover of Blasphemy's "Demoniac". Underground war metal legends Conqueror continue the relentless audio savagery with four more tracks of ruthless desecration. J Read’s unstoppable blast beats providing the backbone for Conqueror’s inexorable attack. Read is a legend for good reason as it is a rare thing to hear so much variety in drumming this fast. Brimming with vitriol, Conqueror unleashes a barrage of lo-fi sonic violence that few can match. Tornado like riffs swirl around laying waste to everything in their path as Read’s hate-filled screams eviscerate any living thing left standing. There is nothing subtle about either band here; this is war metal after all. Considering how difficult it is to get ahold of Conqueror releases, this is a must have for anyone who considers themselves a fan of bestial metal of any variety.




Another classic war metal band here also featuring the talented Mr. Read. Revenge somehow manages to push the audio violence to levels even beyond that conjured by Black Witchery or Conqueror. Never straying from grind-like levels of intensity, you will be happy that this is only about 17 minutes long. Not because it isn’t absolutely killer, but because you will finally be able to catch your breath. Read's vocals are genuinely psychotic. You can feel the hatred dripping from every single syllable. It sounds like the speakers are going to blow out at any given moment. Bands like Revenge are generally pretty hard to review because there really isn't a single part of the music that stands out. Everything from the guitars to the drums and vocals are designed to crush every bone in your body. And that is exactly what this EP will do. When you absolutely want to destroy every motherfucker in the room, accept no substitute.




Hailing from the Netherlands, Sauron have released three superb full lengths of fairly traditional black metal. Originally released in 2003, Universe of Filth is their first and arguably best album. Storming out of the gate with wonderfully catchy guitar lines and relentless blast beats, "Sauron.Death.Squad" sets the tone for the next 33 minutes. While later albums focus more on satanic themes, this beast of an album is dedicated to war. And a fitting soundtrack it is. While the pace rarely changes, Sauron does a great job of writing riffs that are actually memorable despite rarely changing pace. Eclipse’s vocals deserve mention as well. While he follows the traditional black metal template, he injects enough venom into his deliver to make him stand out above the masses of second wave copycats. Those of you who are fans of Panzer-Division era Marduk will find a lot to enjoy about this monster.




Taking a slightly more experimental approach to their black metal, Hordes of the Lunar Eclipse unleashed this, their first full length in 2003. This band sadly flew under most people’s radars when this album was originally released and haven’t gotten the recognition they rightfully deserve. Unlike a lot of the drivel that was being passed off as black metal in the early noughties, Hordes crafted memorable songs and managed to inject enough originality into their music to stand apart from their peers. Constantly shifting and warping from one minute to the next, this album will keep you enthralled from start to finish. Dancing is overflowing with ice-cold tremolo riffs and disturbing grunts all wrapped in a remarkably sinister, occult atmosphere. This again is one of the few bands of this time that was writing memorable riffs, where you could actually distinguish one song from the next. While the production quality does leave something to be desired, there is quite a bit of quality to be found here. Anyone who missed out on this gem first time around would be advised not to sleep on hidden gem.

Nasheim - Solens vemod

By Steven Leslie. After peaking underground atmospheric black metal fans interest with a couple of well-received demos in 2003 and 2004, Nasheim finally released their debut full length in 2014.

By Steven Leslie.

Cover art by R. Jonsson

After peaking underground atmospheric black metal fans interest with a couple of well-received demos in 2003 and 2004, Nasheim finally released their debut full length in 2014. Solens Vemod, or "the sun’s sadness" for us English speakers, is a perfect title for the Swedes’ first album, as beautiful yet melancholic guitar lines break through the darkness like fleeting rays of sunlight at dusk. While Nasheim’s take on atmospheric black metal is not ground breaking, their ability to create captivating and haunting songs help to set them apart from the thousands of bands playing this type of music.

The opening track, “En nyckel till drömmars grind,” sets the tone for the rest of the album. Kicking off with a haunting, mournful riff that slowly sucks the listener into Nasheim’s gloomy world. The band employs a very delicate touch to their songwriting as the music drifts along like a gentle mist propelled by the wind. Wonderfully crafted bass lines float in and out of the fairly traditional arpeggios and tremolo riffs, adding texture and intrigue to the music. The programmed drums, while nothing spectacular, work well to help create the engrossing atmosphere that albums like this live and die by.

While the songwriting is beautiful and expertly crafted, the real star here is the magnificent vocal performance put forth by Erik Grahn. It is the vocals that really drive the music forward and give it power and emotion. Erik uses an exquisite variety of grim yet captivating screams and despondent cleans. It is extremely rare to hear a vocalist so adept at blending these two disparate techniques. Not once do either style sound out of place or forced in any way. All of the vocal melodies combine so naturally with the music that it creates a wonderfully meditative listening experience that is easy to get lost in. Parallels can be drawn to Shining’s Niklas Kvarforth in both the overall delivery and raw emotional power.

The remaining three songs on the album continue on this path with a few added textures and nuances. For instance, the use of acoustic guitars lines layered over the repetitive, distorted tremolo riffs in “Jag fyller min bägare med tomhet” adds a captivating counterpoint melody. Little flourishes of speed and some heavier riffs also help to add character and keep the long songs, which average about 12 minutes, from ever becoming monotonous or overwrought. The song structures are fairly straightforward, which make the album easily accessible from the first listen, but still manage engage on repeated listens. Anyone with even a fleeting interest in atmospheric black metal will find Solens Vemod a worthy addition to his or her collection.

American - Coping with Loss

Written by Steven Leslie.

Artwork by Kevin Gan Yuen

American is a little known, relatively new duo out of Virginia that plays a blend of black metal, sludge and noise. Having not heard any of their demos or singles, released in 2013, I just happened to stumble across them on one of my many late night bandcamp browsing sessions. And I am very glad I did. The band presents a unique and thoroughly engrossing take on modern USBM, while creating a distinctly dark and disturbing atmosphere.

Coping with Loss kicks off with three really killer tracks. Veering between melodic and captivating black metal sections and some really memorable, but minimalist sludgy low-end riffs, the tracks are pieced together with some rather effective noise samples and electronics. Not being a big noise fan personally, I must say that the early tracks get the balance just right, never overstaying their welcome or becoming monotonous. Songs like “Ritual Suicide” and “Decedents” constantly feel like they are on the verge of disintegrating, which adds an element of discomfort and unpredictability that make for a captivating listening experience.

I must say that while there is not much vocal variety on offer, the throat shredding screams are delivered with such palpable emotion and desperation that I really can’t find any fault with them. Dripping with raw unbridled hatred and nihilism they help drive home the depressive atmosphere of the music. They sit perfectly in the mix, ensuring that their power is maintained without ever overwhelming the music. The drumming is excellent throughout the album and really helps hold the tracks together as they drift between fast and slow tempos.

The tempo drops significantly toward the middle of the album as “Lamb to Slaughter” claws its way along in slow dirge. This is followed by three minutes of rather ominous noise in “Pulse Beating Slowly”, before “Solace in Silence” comes crashing in with blast beats and a relentless tremolo picked assault. Coping ends with 18 minutes of drones, samples and power electronics that, at least for me personally, is a bit of a let down and doesn’t really do justice to the power of the opening tracks. With that said, this really is an album worth checking out if you are a fan of utterly bleak and soul crushing sounds. I look forward to hearing how the band continues to progress and develop its sound on future releases.

[Go to the post to view the Bandcamp player]