As one of the bands that paved the way for Symphonic Black Metal back in the 90’s, Limbonic Art returns with their first album in seven years titled “Spectre Abysm”. Featuring seven tracks of fast-paced BM, this release will surely be amusing and entertaining, feeling a bit like their older releases. With most of the Symphonic BM catching up and surpassing what Limbonic Art did in the past, this album is a bit exploratory as the band seems to take on uncharted territories while maintaining a familiar style.
The release kicks off with the 10-minute epic “Demonic Resurrection”, which features a very straightforward style of Black Metal, but adds a few odd elements like some creepy throat singing. The melodic riffing of “Ethereal Traveler” keeps the intensity up, while the intricate tempo changes of “Omega Doom” showcase Daemon’s songwriting skills. We particularly enjoy the more mellow and intricate pieces like “Requiem Sempiternam”.
Hailing from the UK, today we have Winterfylleth and their crushing fifth full-length release “The Dark Hereafter”. Crafting a very unique atmospheric brand of Black Metal, the band manages to deliver 40 minutes of relentless music. Improving upon their already refined style, the band perfectly captures oppressive atmospheres and blistering drumming into an all-encompassing well rounded package.
The album opens with the mesmerizing title track, filled with aggressive BM riffs and hyper-fast tight drums, creating a whirlwind-like atmosphere filled with brutality. With such an intense opening, the band manages to transition into a more melodic driven “Pariah’s Path”, which builds an intense atmospheric cloud around itself. This nine minute peace perfectly captures the band’s balance between melody, atmosphere and brutality in such a lush and yet devastating way.
Multi-instrumentalist one-man show Ihsahn makes a surprise 2016 return with another unique release titled “Arktis.”. Considerably less experimental and out of whack than his previous release, this album delivers 11 very interesting song that while pushing the envelope, they consolidate the signature Ihsahn sound.
Opening with the Proggy “Disassembled”, Ihsahn crafts a very catchy song with a killer chorus section. With some additional vocals by Einer Solberg (Leprous), this is one very melodic and engaging opening piece. Things turn quickly dark with the sinister “Mass Darkness” and its crafty atmospheric guitar work. This track is quite unique as it features some funky tempo changes and epic vocal arrangements (featuring Matt Heafy), all within the Ihsahn realm.
The on-again off-again Abigail Williams return after announcing their last break up, with yet another crushing release with “The Accuser”. Led by Ken Sorceron, this outfit is redefining US Black Metal with every release and they present their current case with eight intriguing songs filled with aggression and experimentation.
Opening with their brutal “Path of Broken Glass”, the band delivers a huge wall of sound in the first few minutes before going into some weird experimentation with multiple vocal styles and some super cool melodic passages. Not sounding like any other band from the USA, this track is a testament to the band’s creativity. Things continue somewhat normal with “The Cold Lines” and the first few minutes of “Of The Outer Darkness”, just before the mood gets dark and doomier, the perfect precursor a great rest of the song.
We love it when bands push the limits of music and Sigh is a fine example of how to continue finding odd ways to further expand your sound in the most bizarre and exciting ways. With “Graveyard” the band continues down their path of madness and delivers one of the most exciting releases of 2015. Featuring a plethora of guest appearances and a central theme around Italian zombie flicks and Fabio Frizzi’s compositions, this is one of the must have releases of 2015.
Leading with guest Kelly Simonz’s guitar leads on “Kaedit Nos Pestis” and the dramatic atmospheric/psychedelic elements of “Graveward”, the band sets a very atmospheric and chaotic mood right from the start. Mirai Kawashima and Dr. Mikannibal have an amazing chemistry and their insane vocal incursions are just one of many things that make Sigh quite unique. The madness reaches new level with the very cinematic “The Tombfiller” and its killer symphonic arrangements, brilliant guitar solos (courtesy of Kelly S again) and crazy effects.
As a solid contender for Black Metal album of 2014, today we have Winterfylleth and their ravaging latest release: “The Divination of Antiquity”. Showing that Black Metal does not need to be static to deliver raw brutality, the band has been slowly morphing over time while maintaining their devastating BM roots. In this release the band’s sound is as crisp as ever delivering eight brilliant onslaughts of sheer devastation that any fan of the genre will surrender to.
Opening with dissonant title track, we can hear fierce drumming and a melodic undertone in the band’s blistering first few minutes. This level of intensity only lets go when the band is delivery melancholic passages that further enhance the destructive powers of their music. The band’s superb ability to construct playful riffs that shift the mood of the song in an instant, are clearly outlined in songs like “Whisper of the Elements”. We particularly love the disarming melancholic passage in this song that bleeds into more merciless brutality.
With “the power of the riff” being in its highest moment, bands like Electric Wizard and Bongripper are killing it in festivals like Roadburn and Hammer of Doom. Under these circumstances comes The Wounded Kings, a UK outfit that delivers uncompromising Doom Metal with crunchy distortion and a very natural vibe. With “Consolamentum”, the band fourth full-length release, they are looking to consolidate themselves as one of the premiere bands of the genre.
Wasting no time, the release opens with the 13-minute monolithic “Gnosis” to give the listener a good idea of what the band is all about. With a hearty distortion and excellent pace, the band rips through endless punishing riffs nicely adorned by Sharie Neyland’s captivating vocals. Just imagine a more traditional Jex Thoth and you can picture what The Wounded Kings sound like, as they evidently display on the pummeling “Lost Bride”.
Being huge fans of Ihsahn, we finally made the pilgrimage this year to watch him play live at the Afterburner in the legendary Roadburn Festival. Having surrounded himself with the extremely talented musicians of Leprous as his ‘backing band’, he delivered quite an impressive performance by nailing almost all the songs with brilliant technical perfection. Anyways, on his latest release, “Das Seelenbrechen”, he pushes the envelope even further with a lot of experimentation and a few of his signature elements. If you are expecting another “After” or “Eremita”, you might find yourself scratching your head a bit with this one.
Enlisting Leprous drummer-extraordinaire Tobias Ørnes Andersen for this release, Ihsahn as always handled everything else. Things seem to open in a very traditional way with the beginning of “Hilber”, a seemingly straightforward track that starts getting crazy as the odd keyboards come up. While this track is quite engaging, the weirdness is still manageable for all fans of Ihsahn. “Regen” takes a turn for the dramatic with clean vocals and a very dark vibe. The ballad-esque opening nicely builds up to some very epic moments as the song progresses. This track is one of our favorite ones thanks to the brilliant mood progression and dramatic climax.
With everybody and their mothers playing Doom/Sludge Metal it is getting quite annoying to weed out the bad releases from the good ones without investing too much time in it. Luckily for us, Sadgiqacea made it very easy since the first song of their debut release “False Prism” is pretty epic and quite unique from your average band in the genre. Hailing from the USA, this two-piece delivers four crushing tracks of powerful Doom/Sludge that will greatly appeal to fans of bands like Black Cobra all the way to Neurosis.
Opening with “False Segments”, the band pummels away with some very cool (and heavy) guitars that are above your average repetitive Doom/Sludge guitar work. The band’s knack for creative rhythms and excellent musical skills allows them to sound different while retaining the griminess of the genre. As the track nears its end, there are some very cool details that made us enjoy it even more.
Total aural destruction is probably the best way to describe Anaal Nathrakh’s latest ear-piercing sonic abuse of a release titled “Vanitas”. As one of the band’s that constantly keeps improving their abilities to abuse the listener through their extreme music, Anaal Nathrakh has done it again with this release and delivers ten punishing tracks that will make your head fall off after headbanging for almost 40 minutes.
Blasting this release wide open with “The Blood Dimmed Tide”, the band opens with some Industrial-ish passage before heading to full-blown chaos. The vocals are as crushing as always, and the drumming is as intense as ever. The traditional deranged screams nicely make this piece very memorable indeed. Blasting into “Forging Towards the Sunset”, we are barely given any time to mellow out when the abuse returns. This track has some cool clean vocals that add a bit of an epic feeling to the song in the same way that Emperor did back in “In the Nightside Eclipse”.