Zuriaake - Gu Yan

By Hera Vidal. China isn’t one of those countries I would consider to be very metal. For one thing, there’s censorship and Communism, and metal is one of those things I would consider to be very Western. However, since the eventual spread

By Hera Vidal.

Artwork by 代千竹

China isn’t one of those countries I would consider to be very metal. For one thing, there’s censorship and Communism, and metal is one of those things I would consider to be very Western. However, since the eventual spread of black metal to the rest of the world (the never-ending “third wave”), many countries have taken black metal’s DNA and modified it, creating music that fits their culture and what they want to show.

Zuriaake, a Chinese band who came into the scene in 1998, is no exception to the rule – except they decided to combine atmospheric black metal with depressive overtones, and then adding traditional Chinese instruments that add nuance to the music. Their brand of atmospheric black metal is enjoyable and highly accessible, creating a perfect marriage of melodies that makes the album sound majestic. This album reminds me of the wuxia films I grew up watching as a kid, as the music presents a perfect backdrop for the stories in those films. It’s dark and emotional, but there is also a sense of hope on this album that translates well to the listener. Interestingly enough, the music becomes more and more Chinese the further you listen to it. At first, it stands quietly in the background, but by the time “邊關” begins, the full effect of the Chinese instruments have blistered your ears, creating an Imperial Court feel that you could see in films. It also allows the listener to fully enjoy the album on its own, as the vocals only accentuate the majesty of the music. You can easily lose track of time while listening to the record, but the headspace it allows the listener to be in is a calming one, even with all the black metal elements the album has going on.

The bulk of its music is on the sprawling 20-minute track “邀 (广寒 / 仙游 / 南柯)”, which is the crowning jewel of the album. This bombastic, emotional track shows the multitude of what Gu Yan has in store, and it’s so massive, you can sit and listen to it with your mouth wide open. It almost feels like there are three songs in one, but they are so well-put together that they flawlessly meld into each other. Even if you decide that the album isn’t for you, listening to “邀…” is recommended.

All in all, Gu Yan is an album that represents China as a country with a stake in black metal. It’s majestic, emotional, and reminiscent of wuxia films. There’s something incredibly imperial to it, as if the music had been smuggled from the Forbidden City. I am surprised by this album. I thoroughly enjoyed it and I expect it will get a permanent spot on my winter playlist.

Deep Mountains - Deep Mountains

Review by Andy Osborn.


Music being a universal language is without question. It bridges gaps, promotes understanding between cultures and teaches Americans a hell of a lot about Scandinavia. But it can also open your eyes and ears to locales where you never thought individuals with your same musical tastes would thrive. Hailing from Tai’an, China, this EP is Deep Mountain’s only recording as of yet but speaks volumes about their potential.

It opens with an acoustic folk passage which builds the mood for the tracks to come. Upon my first listen, I was nervous. Maybe it’s a stereotype (ok, definitely), but I automatically assumed that an underground recording from China is going to be of a lower quality than what we’re used to in the Western World (can you blame me?). Minutes into the second track it becomes very apparent that this is a professional release through and through. When the clean guitars switch their tone to buzzsaw mode, they’re crisp and thick yet retain a sharp without a hint of muddiness.

From there, the descent into the deep mountains begins. And it’s a winding one. The path seamlessly weaves between folk interludes, Pink Floyd-esque bridges and seething black metal panic attacks that can sound anywhere from early Nachtmystium to a doomy Taake. But it never doubles back. Don’t get too attached to any one piece, because unlike the mountains the imagery is based on, the verses are fleeting. Once you’ve heard it, it’s gone. It mimics the death of someone you hardly knew. I fell love too quickly and Deep Mountains exploited my foolishness. “远山”, which translates to “Distant Mountains”, has one of my favorite black metal riffs in history, erupting out of nowhere during a soothing string section, then it’s ripped away – returning the song to a place of peace and reflection. Multi-intrumentalist Liu Qiang is in complete control of his voice. He showcases anguished screams and soft poetic speaking in his native Mandarin, contributing a gorgeous atmosphere throughout the recording. The sixth and final track feels the most straightforward, dividing its time down the center between the band’s two aesthetics. Starting with an atmospheric blackened piece that rivals anything by their best American or European counterparts, it ends with beautiful acoustic harmonies that give you time to reflect on the journey of the past 45 minutes.

This EP holds the weight of the mountains on its cover and will hopefully stand strong just as long.

[Go to the post to view the Bandcamp player]

Zuriaake - Afterimage of Autumn - Winter Mirage

Zuriaake's Afterimage of Autumn from 2007 is available on the Pest Productions Bandcamp. This is shimmering black metal. Beautiful melancholic melodies carried by hypnotic riffing and underlined with dynamic bass lines. Vocals that range from keening cries to cavernous croaks. And a unique pagan/ethnic atmosphere created by the use of (sampled?) traditional Chinese instruments and samples of nature sounds. Here are reviews from The Metal Archives and From the Dust Returned

[Go to the post to view the Bandcamp player]

Winter Mirage is a re-release of the bonus disc to the limited edition of Afterimage of Autumn. The first track is raw and aggressive keyboard laced Scandinavian black metal. The second has a fascinating theme featuring a plucked string instrument, that segues into pummeling double bass aggression, and tops it with nature samples! The Bandcamp tells us that Zuriaake will release a new album this year, I am so looking forward to that.

[Go to the post to view the Bandcamp player]