Der Weg einer Freiheit - Finisterre

By Justin C. I got on board with Der Weg einer Freiheit two albums ago, with Unstill. I wouldn't say there have been any quantum leaps in sound between that album and their newest, Finisterre, but that's not always a bad thing.

By Justin C.

Artwork by Max Löffler.

I got on board with Der Weg einer Freiheit two albums ago, with Unstille. I wouldn't say there have been any quantum leaps in sound between that album and their newest, Finisterre, but that's not always a bad thing. If it ain't broke, don't fix it, and Der Weg's take on atmospheric black metal remains as satisfying as ever, in spite of some line up changes through these past three albums.

The "atmospheric black metal" label, of course, has broadened so much as to mean almost anything that vaguely fits into the category of "black metal with melodic tendencies and/or some quiet parts." What Der Weg does is an interesting hybrid. They have depressive tendencies--just check out the song titles for a hint, with "Aufbruch" (departure) and "Ein letzter Tanz" (a last dance) kicking off Finisterre--but they don’t use the plaintive wails that usually go along with that particular subgenre. They also have orchestral/symphonic elements, although not the cheesy shlock that some other bands are guilty of. You won’t find thick swaths of synths or strings here--it’s “orchestral” in the sense of a refined ear for composition, rather than slapping extra instrumentation on top of a song that doesn’t merit it. They’re also particularly good at adding a grand sweep of melody without obscuring the dirty black metal underneath.

Der Weg einer Freiheit 2015. Photos by Francis Bijl.

"Aufbruch" is intense almost through its entire length, with excellent mid-range rasps and a piercing melody riding the waves of the music. It's somehow sad and furious all at once. "Ein letzter Tanz" continues that mixing, with a gentle, melancholy intro building over three minutes until the black metal comes back on in full. The turns are dramatic, but they never feel overwrought or over the top. A gentle interlude later in the song, with simple, clean guitar over a mournful tremolo riff makes the music cover a full range, from peak to valley, both in volume and intensity.

Interestingly, one of the shortest songs on the album, "Skepsis Part II," ends up being one of the most epic. It has some of the most furious rhythms and vocals, but it maintains its sense of melodicism even with everything turned up to 11. It's a skill they're particularly good at, and it's one that the raises the band above a lot of their atmospheric black metal peers. If you already know and like the band, I’m willing to bet you’ll enjoy this album, too, but if you don’t know them or are feeling a little burned out on atmospheric black metal in general, I urge you to check them out anyway.

The Devil's Blood - III: Tabula Rasa or Death and the Seven Pillars

By Natalie Zina Walschots. Based in Eindhoven, in the Netherlands, psychedelic doom/occult rock outfit the Devil's Blood announced at the beginning to 2013 that they were dissolving, but plans for a final record had already been set in motion.

By Natalie Zina Walschots. Originally published here by Exclaim.


Based in Eindhoven, in the Netherlands, psychedelic doom/occult rock outfit the Devil's Blood announced at the beginning to 2013 that they were dissolving, but plans for a final record had already been set in motion. That swan song is III: Tabula Rasa or Death and the Seven Pillars, which the band openly admit was assembled from pre-production and demoed material, cleaned up as much as possible prior to release.

Photos by Francis Bijl.

Despite the less-than-ideal recording conditions, the material is strong, with urgent, swelling bass lines and fluid guitar work. There's an oppressive, almost chalky smokiness to the tone, but it serves the material, making it sound even more ominous. Farida Lemouchi's vocal performance is, as always, a highlight, her tone deep and caramel rich, her style emotive and intense. III: Tabula Rasa would be an exceptional occult rock release under most circumstances, but considering that it's a farewell, there's an added sense of poignancy and loss, demonstrating keenly exactly why the Devil's Blood will be missed.

The Great Old Ones - EOD: A Tale of Dark Legacy

By Calen Henry. The Great Old Ones (named after the cosmic deities within the Cthulhu mythos) play Cthulhu metal the way Sleep play Stoner metal: with complete devotion. They're all in. From band name through to musical style, everything about the band is steeped in Lovecraft.

By Calen Henry.

Cover art by Jeff Grimal.

The Great Old Ones (named after the cosmic deities within the Cthulhu mythos) play Cthulhu metal the way Sleep play Stoner metal: with complete devotion. They're all in. From band name through to musical style, everything about the band is steeped in Lovecraft.

Lovecraftian horror and the Cthulhu mythos in particular have long been lyrical themes in metal. Bands as far back as Metallica have touched on them to varying degrees and the Cthulhu mythos has proven a fitting vessel through which to channel heavy metal. Metal, and black metal in particular, uses themes of cosmic insignificance, world-weary nihilism, and demon worship. All are also integral to Lovecraft's world.

Photos by Francis Bijl.

Across their three full lengths—an album of Cthulu themed songs, a concept album based on At The Mountains of Madness, and now EOD : A Tale of Dark Legacy, a concept album based on A Shadow over Innsmouth—The Great Old Ones have channeled those themes through blackened post-metal.

Through their catalog they've moved from post-metal with blackened embellishments to focus their sound on the caustic black metal sound most recently thrust into the spotlight by Icelandic bands like Misþyrming. Though rooted firmly in black metal a lot of the post-metal influence remains, albeit filtered through the lens of dissonant black metal.

Photos by Francis Bijl.

The maelstrom often breaks into slow crushing grooves but with the same dissonant chords and intervals as the black metal as well as slightly dissonant leads layered over top. This approach gives the whole record a cohesive sense of foreboding and a pervasive wrongness, another important tenet of Lovecraft and something lacking in much Cthulhu themed metal. Even the final track, a long ambient acoustic album closer oozes foreboding like an evil Agalloch.

With EOD : A Tale of Dark Legacy The Great Old Ones have delivered on every level. It's a great album regardless of one's Lovecraftian proclivities, and even better for Lovecraft fans.