Noteworthy Report: Rest of 2017 (pt.3)

2017 is now officially behind us. And it was a terrible and deadly year for people of the arts and especially musicians. Let’s hope 2018 won’t be such an asshole. Have a great new year everyone!

But enough with the idle chatter, let’s push ahead for the 3rd part of Tragon’s “Noteworthy Report – All of the albums that I felt deserved your attention this year but was so slow to publish that you’re now going to listen in 2018”. Shall we?

 

Dawn Ray’d – The Unlawful Assembly

The Unlawful Assembly” is an album that came thundering straight from the underground. The trio from Liverpool put out an impressive debut album. Fierce melodic black metal enhanced with folk moments that really give it a special character. Don’t let that one unheard.

 

Blaze of Perdition – Conscious Darkness

This one doesn’t really need introductions. 4th studio album by the Finnish outfit, less pompous and noticeably slower than their “Near Death Revelations”, it actually felt like a sequel to Behemoth’s “The Satanist”. Blaze of Perdition have meticulously crafted their sound over the years, so any surprises are guaranteed to be pleasant ones.

 

Grima – Tales of the Enchanted Woods

Atmospheric Black metal that you can hardly believe is Russian. Multifaceted compositions, vocal variety and weird folk instruments are some of the bonus points, but even without them the album can satisfy any USBM fan without really trying. What are you waiting for? Buy it!

 

Raventale – Planetarium

Everyone knows that an EoY list without any Ukrainian Black Metal album is not a real list. Raventale is a one-man band that has managed to release 8 albums in 11 years. That is a feat not many bands can achieve. With “Planetarium” they offer almost 40 minutes of mesmerizing, melodic, atmospheric Black Metal that includes some of the most beautiful songs I’ve heard all year. Listen for yourselves!

 

Aosoth – V: The Inside Scriptures

Aosoth is one of those bands that never disappoint. Their brand of black metal is part dissonant (they are part of the French scene, so what else?) and part occult, somewhat experimental and most importantly HONEST. When in doubt, put your money on them.

 

Bestia Arcana – Holókauston

Up to this point you had your fair share of melodic and atmospheric BM. But what about those who like it disturbing? Say no more, I have you covered! This album is a chaotic holocaust packed in listenable format. If the world’s destruction has a soundtrack this is probably it.

 

Pestlegion – Dominus Profundum

Remember what I told you about Germanic Black Metal? This is exactly what I meant. B. von Doom’s vocals feel so wrong to me that I have to put real effort into listening to them. However, Pestlegion have created so brilliant music in their debut album, it would be just unfair to leave them outside my Noteworthy Reports only on such grounds. If you are a fan of pure, Whiskey Fueled Old School Black Metal, you can’t miss this.

(Bandcamp link to the album)

 

Incantation – Profane Nexus

If you don’t know this band, you probably lived the past 30 years in a cave or under a rock. The legendary deathsters are back and they are determined to cause some serious ear bleeding. The album is filled with bleak desperation, and the more you hope it ends soon, the deeper you sink in this musical quicksand. If you haven’t been exposed to their music before, this extremely formidable album will make sure you’ll love them from now on.

 

Nadir – The Sixth Extinction

If you believe that Doom metal can’t be groovy, you probably haven’t heard of Nadir. Their music is constantly on the verge of trotting down the Melodic Death path, but never quite leaving the Doom ballpark. Their (thankfully few) death-core parts didn’t manage to put me off and so I was rewarded with some really memorable leads and riffs and had a generally very enjoyable time listening to them.

 

Thus ends the third part of my list. I’m going to get some off with my lovely family now. You go ahead and listen to those records and let me know which ones you found particularly good, or which ones you completely missed and you have to thank ATF for bringing them up. The 4th and final part of the list is coming in the following days. I’ll see you then and there.

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Noteworthy Report: Rest of 2017 (pt.2)

I hope you had enough time to check the first part of my “Noteworthy Report – all the great releases of 2017 I didn’t have the time to write about”. Are you ready for the second part? Well, ready or not, here comes…

 

Grafvitnir – Keys to the Mysteries Beyond

One of the reasons I post my NWR lists this late as the year ends, is that some really good albums get released at the last days of December. (Another reason is that I have a hard time to keep up with my own schedule but that’s a completely different story). Most publications have done their lists by that time and albums just fall through the cracks. It would be a shame for such a beautiful release to have that fate! Malicious melodic Black Metal at its best form.

 

Saqra’s Cult – Forgotten Rites

That’s a really interesting mix of primitive, old-school, mid-tempo Black metal with a touch of shamanistic occultism. The band from Belgium did an impressive debut, without much fanfare. Keep an eye on them.

 

Kafirun – Eschaton

Occult Black Metal is a subgenre that slowly but steadily won its own place in my heart. Every now and then I stumble on an album that really manages to create the otherworldly atmosphere and awe that its name suggests. Isn’t that a success? Don’t miss this deeply unsettling album.

(Bandcamp link to the album)

 

Der Weg Einer Freiheit – Finisterre

Germany always did great in Gothic and Thrash, but their Black metal always felt “wrong” to me, with very few exceptions. Der Weg Einer Freiheit is one of those. Even before the first track ended I knew I was in for a treat with this album. Must have!

 

Yellow Eyes – Immersion Trench Reverie

What an extraordinary USBM album! The band moves with such ease from their doomy parts to explosive blasts that I regularly had to check that I’m still listening to the same album. Raw and somewhat depressive but with bright progressive moments, this here is a little gem. Don’t skip it.

 

Hands of Thieves – Feasting on Dark Intentions

The debut of this Polish band passed somewhat unnoticed when it came out this July, and that’s really a shame. In 4 tracks of 30 minutes running time, constantly switching from Black to Death to Doom, Hands of Thieves deliver a seminar on how to properly melt faces the old school way. Excellent!

 

The Father Of Serpents – Age Of Damnation

Admittedly, I am not a huge fan of prog metal. Most of the time I find that band after band put their musical prowess and expertise at a show-off competition, leaving their compositions lifeless. But here, WHOA! What an album. The tracks are hypnotic and they actually lead somewhere. There are some mixing mistakes here and there but they are hardly noticeable, plus the band is from Serbia: when we were perfecting our craft these guys were at war, so cut them some slack. Fans of early Paradise Lost, Opeth, Orphaned Land and Saturnus wouldn’t want to miss this album!

 

Insanity Cult / Isolert

A beautiful sample of misanthropic Black Metal from the two Greek bands that share time in this split release. The vocals on the Insanity Cult put me a bit off, but their music is awesome in any case. I liked Isolert a bit more, especially the mesmerizing closing minutes of “I Hide My Soul Inside The Trees”. Give it a spin, you have nothing to lose.

 

Darkflight – The Hereafter

This is a band that exists almost two decades, and although from the neighboring Bulgaria, I’ve never heard of them. Hopefully this 4th full length album will set them on the right foot to reach their long deserved audience. Melodic, blackened Doom Metal is what they trade, and they do it quite good. There are some obvious flaws here and there but the beauty of their compositions is far too great to bother…

 

Sicarius – Serenade Of Slitting Throats

More than decent black metal that at points reminded me of second-era Immortal. Although this US band’s debut isn’t groundbreaking, it really sounds savage, solid and promising. Keep a close eye on them.

(Bandcamp link to the album)

 

That was the second part. I’m gonna dive in my notes now to get the 3rd part ready. You go ahead and listen to those releases. Did you find any of them intriguing? Let me know in the comments…

Noteworthy Report: Rest of 2017 (pt.1)

In recent years it is becoming the norm for blogs and magazines to give an ‘EoY’ (end-of-year) list with ‘the 10 best albums’ of the year (or in some cases 12, or even 80 if that makes sense). I was hesitating to follow this practice, especially since I don’t use a grading system for my reviews, so what I decided instead is to give you a list of what I kept in my ‘noteworthy’ list throughout the entire year. This would be a smaller list if I wasn’t neck-deep-busy over the last months, but such things happen, and so I will have to cover what was left behind during my long absence.

Notice that there is no noticeable distinction between ‘underground’ and ‘established’ acts. Still I give somewhat of a break to lesser known acts because having to compete to get a name out there is already hard enough.

Due to the sheer number of releases included in this “Noteworthy Report – all that is left of 2017 that I didn’t have the time to talk about” I will break it into many parts. Enjoy the first of them…

 

Battle Dagorath – II – Frozen Light of Eternal Darkness

Last year, their “I – Dark Dragons of the Cosmos” was among my favorite albums for 2016. This year they returned to finish what they started with this second part of the opus. This one is more direct and energetic. Astral Black metal in the vein of Limbonic Art.

 

Cult Of The Horns – Chapter I. Domination

Gut wrenching blackened Death metal from France. If you are a fan of early-to-mid era Belphegor you are SO going to enjoy this album. I know I did!

 

Darkenhöld – Memoria Sylvarum

This is an album I thoroughly enjoyed this year. Inspired by the Norwegian Atmospheric Black Metal of the 90’s, it feels like a journey in the past. Time and time again you will feel the nostalgic effect of its riffs as they unearth forgotten hints of Ulver or Old Man’s Child, only to fade under a Burzum-esque change of pace, yet nothing feels forced. There is definitely something in the French waters!

 

DEVLSY – Private Suite

Lithuania is a country with hardly any well established metal bands. However they don’t give up and every now and then a good release will surface to remind us of their efforts. This avant-garde post black metal album is a “now” moment. Support it.

 

Метель – Цивилизация

Metel is a Russian black metal band clearly inspired by the Swedish school (reminded me of Negator’s “Panzer Metal”). Formed in 2003, they just released their debut album this Christmas, and it’s really really good.

 

Grailknight – Galahad’s Quest

Admit it. If you hadn’t seen the title, you too would believe that these are lost recordings of Summoning that didn’t make it to their “Lost Tales” EP. This one man project from Serbia is doing a really good job at imitating their Epic Dungeon Synth Metal. The production is quite underwhelming but I decided to cut them some slack anyways.

 

Deviser – Howling Flames

The Greek veterans return after a long absence with this tasty EP. Pompous melodic black metal that encloses everything we loved from the Greek scene of the 90’s and then some. Can’t wait for the full length!

 

DSKNT – PhSPHR Entropy

Switzerland is –at least in my mind– a country where metal bands are either atmospheric or experimenting with electronic elements, so this album was a huge surprise for me. Apparently the French Black Metal scene is getting to big to be contained and now contaminates bordering nations. Oh, goody!

(Bandcamp link to the album)

 

Necrot – Blood Offerings

I am a very difficult listener when it comes to old school Death Metal. It usually bores me to, well, death. So when an album manages to keep me entertained for its entire duration it makes it to my list. Simple as that. The Californians really did it this time. Fans of early Death, invest with both hands!

 

Fen – Winter

The gentlemen from the United Kingdom return to their roots with this 5th album. Musically, “Winter” is really close to “The Malediction Fields” (which happens to be my favorite album), yet the compositions are more mature. A solid release.

 

That was the first batch. If you enjoyed it, stay tuned as there are more to come in the following days. Which release did you particularly like?

Interview with Battle Dagorath

If you frequent my blog you will know by now that I only review releases that I can highly recommend to other people. And since music is rarely detached from the musician, I usually try to get some deeper knowledge by talking to the band responsible for it. Last year when I reviewed Battle Dagorath‘s album “I – Dark Dragons of the Cosmos” I decided to wait for the second part of this opus to do the interview. And now the time has come, since “II – Frozen Light of Eternal Darkness” releases in about a week.

So BSB, tell me a little more about the band, a short bio if you like.

Battle Dagorath was born in the year 2002. Since the beginning the vision was to invoke the haunted pathways and create distant ominous landscapes. Cold Bleak Atmospheres and Intense Glorification of Darkness are combined to open the gates of the Night Sky. Harnessing the forces of Mystique Revelation we journey through fields beyond these horizons, exploring realms of the deeper dimensions. Through time we have gradually evolved as an outlier within this so-called “Atmospheric” black metal genre. When we started the sound derived from the early forms of Black metal but also with other outside influences, and we remain this way.

3-Black-Sun-Serpents-Sigil

It’s been almost a year since you released “I- Dark Dragons of the Cosmos”. How has the feedback been so far?

There’s always a mixed reaction to our albums so it’s nothing new. In general every time we release an album it flies under the radar and gets discounted by many. We’ve never really been accepted or hailed by the mass and I don’t think that will ever change. Nowadays “Atmospheric” black metal has become labeled as another cliché and we get accused of this, but I don’t see it as such, whatever trends that come and go, has nothing to do with us. We find our own path and we evolve in our own way. By nature, Black Metal is atmospheric, so beyond a reference point for dummies, this term is redundant. For me the fight ends when we finish the songs. I don’t waste much time looking for positive or negative attention. It really means nothing. Everyone experiences their own truths, so I don’t go too far beyond into others thoughts. If somehow the music can connect with others in a natural way, then that’s good.

Give me some insights about your lyrical themes and your artwork.

Battle Dagorath is music from a dreamlike dimension. It is a solemn ceremony to the inner cycles of the soul. The end result is a purging rite that ruminates into the deep shrouds of disintegration. Metamorphosis consumes your being. Our explorations manifest from the unconscious, we travel along these gateways. The places that would inspire this are more cold remote distant places that lurk in the inner realms, untouched places. This creation is about these things that lie beyond the pale. This is the basis for our inspiration. To look through the boundaries of this dimension and into other dimensions.

This is only the first part of an opus. When is the second part, “II- Frozen Light of Eternal Darkness” coming?

Frozen Light” is to be released in the Autumn time of 2017 by Avantgarde Music (p.s. according to their bandcamp it releases September 15th).

Can we expect something vastly different in “II”, or is it an extension of the path you followed with “I”?

All the releases are extensions of each other; each one evolves like a link in the chain. “Frozen Light” is the natural next step in this path. There is an emphasis of hypnotic majesty in the arrangements.  We expanded on the mystical embodiment and spectral grandeur of our message.

In retrospect, would you change anything in the albums?

No not really. When you look back there can be things that you could pick at but I don’t dwell too much on the past works. Once the music is completed I’m done and on to the next work. With creating, I enjoy seeing both the limits of the past and the evolution into the future. I think every artist can see it in this way, otherwise there would be no point.

You have released “I” in both CD and vinyl format. “II” will be released only in CD. What is the reason for that? Are we going to see it in vinyl at a later time?

With “Dark Dragons” we wanted a vinyl. But it doesn’t have to be this way for everything. The format of any release is something secondary. These things have their charms but it’s merely materialism and it won’t endure. Only music endures. I don’t know if “Frozen Light of Eternal Darkness” will be released on vinyl, Avantgarde Music has said that they will release it on vinyl eventually, but we shall have to wait and see.

You live in the USA while Vinterriket is located in Switzerland (if I am not wrong). How do you manage to work? What is your creative routine?

We never rehearse, only create. I construct the structures here in my home, then I’ll mail rough drafts to Vinterriket and we start to develop the songs in this manner, going back and forth experimenting with the ideas.

lineup

What are your future plans for Battle Dagorath?

At a time the frustrations I felt with the limitations of this band had me thinking that I wouldn’t go any further. But lately I’m rethinking things, I want to take things slow and simply continue being creative. I’m planning a few splits with some good artists who I am in contact with.

I know you also run a label. Give me some details. Are you accepting demos from bands or do you scout yourself?

I’ve had a label, Mercenary Musik, for many years now. It was always run idealistically, as a vehicle to push great underground art, Mercenary Musik will always stand for art as it should be, free from conformity! But in many ways it’s too unrealistic for my health and survival. In the last years the label has become far more inactive. After 20 years involved in this, I’d say that I’m definitely winding it down now. It still exists but not like before.

There is a shift in the music business. Bands are now releasing music easier than ever. On the other hand, people don’t seem interested to pay for music anymore. Being both in a band and a label, where do you stand on this?

From a business perspective, this is the worst time you could have chosen to make music. The Internet created a deep vacuum and what remains is merely a shell from the past. The mystery of discovering music that existed in the old days has been replaced by instant gratification, now you can conveniently find 20 bands all sounding the same within a few clicks, without pay a dime .As an artist there isn’t money to be made from this. What I’ve learned is that you have to try and not let these limits derail your dreams to create. Humanity in conjunction with technology is a plague that is reaching for the end game. Don’t have any expectations. There are no solutions to anything.

Are you involved in any other bands or projects? What are your personal future plans?

I’m also involved in a black-thrash project called Hellschwadron, we released an album last year entitled “Storming Obliteration”. Currently I’m writing the lyrics for another album.

Any albums that you’ve listened to recently and would like to share with the readers of this interview?

About the scene nowadays, without wanting to sound overly negative, I don’t feel part of it. I can probably name more bands that I don’t like than those that I do. And I’m really only interested to listen to artists that I relate with. Some great ones that I can mention are Lorn, Earth and Pillars, Near, Lluvia, Brouillard, Forn Valdyrheim, Dissonant Winds, Tempestarii, Volahn, Prosternatur, Cryfemal, to name a few. Also the new Sadistic Intent split, which I helped with some engineering, this one is magic!

What do you know about the Greek metal scene? Any favorite bands?

My favorites are Spectral Lore, Darchon, Nocternity, Lord Impaler, Order of the Ebon Hand, Typhoeus, Prometheus, Stutthof, Legion of Doom, Dark Messiah.

Closing thoughts ? Anything else to add?

Thanks for this interview!

Interview with Au Champ Des Morts

Every time I write a review, I try to get in touch with the band and get some more information around the album and the musicians responsible for it. And it is always a pleasure when this actually happens. Back in February I wrote about Dans La Joie and a few days ago I had the pleasure of talking with Cécile G., a very down to earth personality with a lot of insights to share. Go ahead and read this…

Give me some historical background on the band and the members.

Cécile: Au Champ Des Morts started up in August 2014 when the both guitar players, Stefan Bayle (ANOREXIA NERVOSA) and Migreich (VULV) first met during an underground festival in France. They’ve decided to make this project a real band and in 2015, the line-up was completed by the arrival of Wilheim (NEURASTHENIE, EXECUTION) on drums and myself (OLEN’K, ANOREXIA NERVOSA) on bass. After recording the album, Migreich decided to leave the band so now we’re evolving as a trio.

What is the feedback on the album so far? Are sales going as you expected?

The feedbacks on our album are good and far beyond our expectations. We are very touched by the welcome given to our work. Regarding sales, we don’t know yet and it’s still too early to say because our album has been released at the end of January. And honestly we don’t expect anything, I mean, we did not really thought about this, especially since this is our first album, so we will see. At present, I don’t think you can predict anything concerning record sales in underground music.

You incorporate a lot of different elements in your songs. Can you name some of your influences?

Our influences are very varied, to sum up, it goes from black metal, cold wave, old hard rock, essentially bands from the 80s to now. And to name but a few I will cite bands like Bathory, Celtic Frost, And Also the Trees, Dead Can Dance, Austere, The Devil’s Blood… There are too many to quote them, but we are really passionate and we always listen with pleasure to the cult albums as we always looking for new stuff too.

What are the lyrical themes about?

For the lyrics, we all participate, we write on a theme or something inspired by the music, or a personal experience that has affected us. Symbolic, our vision of the world, our readings…Inspiration comes from everything around us.

But, for this album, once we were working on the track listing, we found that a kind of concept has emerged. I like to summarize it by this sentence “We are the witnesses of death under all its forms”. Indeed, the theme of death is omnipresent in our work, under every of its levels; death of the flesh, death of the soul, death of the civilization, death of the world.

au-champ-des-morts-1-min

While on this subject, you stick –like most French bands– to your native language. Was this decision made because you feel more free to express yourself that way or some other reason (they sound more exotic for example)? Do you feel this as a limitation?

In fact we have not really thought about this, it came naturally. Maybe at the beginning we thought it would be easier to express ourselves in French because it is our mother language and we are attached to it, but it is not obvious to sing in French in Black Metal growls, it’s not really appropriate. Even in clear vocals in my case, it’s new to me, I’ve always sung in English or Latin so it’s a good challenge and you have to be careful to choose the words that make sense and can be musical too.

I think we use French because we wanted to deliver something which really comes from us and for the declaimed singing the French is perfect for its theatrical and powerful side too. I do not see this as a limitation, I just find that exercise is a bit more challenging.

What does the album cover stand for? Care to share some info on the artist who drew it?

The cover of our album was made by the talented artist Dehn Sora. He perfectly rendered the atmosphere of our album, the concept of death and its symbolic. Like any great artist, his work has many interpretations, it is for listeners to make their own, it’s the same thing about listening our music. You have to leave room for imagination and sensitivity of each one, art is made for that. We admire his work on contrasts and lights and his way of living black and white, this is what marked us and I invite you to take interest in the work of this artist.

What are your future plans? Do you have any live shows booked?

We’ve returned to composition, and we’re looking for a second guitarist to play live so no shows booked for the moment. It’s very important for us to construct something worthy of the album for what will be Au Champ Des Morts live and we hope to be ready soon.

How do you write music? What is your creative process?

It’s Stefan who mainly composes. The process is simple, usually everything starts from a riff which becomes an obsession. Then a structure is built and melody ideas keep coming. You have to be in a particular state of mind to compose, it’s a kind of second state, something beyond yourself. For that you must have time to devote yourself fully to it, I mean, trying to make a vacuum around yourself, which is not really easy sometimes.

Do you have some specific piece of gear or software that greatly facilitates your job?

Not really. We work the old way, with not really recent material, an old Atari, an analog console, vintage effect pedals, Marshall amps… This suits us perfectly. We only use computers for practical reasons and for recording software. That’s fine when it works but when it breaks down and you’re forced to take a recent pattern it becomes a headache. All this to realize in the end that it works much less well than before. It’s really frustrating to waste time with it…We hate the modern world and its nonsense.

au-champ-des-morts-2-min

France has built a trademark-BM scene. How does it feel to be part of it? Is it a blessing or a burden?

We are often asked this question, I do not have the impression of being a part of a “scene” strictly speaking. I don’t know if there is a trademark BM scene in France, as French musicians we have always been interested in French metal bands, so I think you are better placed than me to talk about it. The idea of scene disturbs me a bit in the sense that it evokes a certain form of conformity, or even competition.

For me, it is obvious that in recent years there have been talented and interesting artists in France. I think of bands such as Year of No Light, Throane, Alcest, Aluk Todolo … Of course they share common influences but they have very different personalities. The link is in the way of elaborating the art, and a certain state of mind that drive those bands to compose this way. It deals with sincerity and a will to come back to a more emotional way to make music, without thinking about business or selling. At least that is how I feel and I fully share this vision. If this is what you call the trademark BM French scene then I agree.

Any underground metal bands from your local area we should be looking out for?

Underground metal bands… No, I don’t see. The only name that comes to my mind is Burzum but I think you already know it. There are probably others but I don’t know them yet. The problem of overproduction…

What do you know about the Greek extreme metal scene? Any favorite bands?

I don’t know too much about Greek extreme metal scene, sorry. I know Astarte, Necromantia and Rotting Christ of course. I like Rotting Christ, Stefan knows them well as they went on tour together during the Anorexia Nervosa era.

Before letting you go, any news from the Anorexia Nervosa front?

Even if Anorexia Nervosa belongs to the past, we are always in touch with the members, we are close friends. They are fine. Concerning music, Hreidmarr has several musical projects in progress and Neb Xort still holds the Drudenhaus Studio, he has recorded our album.

Closing thoughts, anything else you want to add?

Thank you for this interview. Let yourself be invaded with Joy and Light…

 

Follow Au Champ Des Morts at https://www.facebook.com/Au-Champ-Des-Morts-1061663760580553

Ignis Gehenna – Baleful Scarlet Star (2017)

ignis-gehenna-coverIgnis Gehenna is a one-man band from Tasmania, Australia. Nihilifer (also known from the now split up Erebus Enthroned) is the mastermind behind this act that already counts a decade on its back. In this debut full length album he attempts to conjure a sinister darkness from beyond this world, and admittedly he managed it all too well.

The album starts with a slow, mesmerizing tune, and from the first minute you can tell this is going to be a good album. It doesn’t take long however to realize this is an understatement. Halfway through the first song and the raspy vocals are hooked on skin like snake fangs. Then enters the bass with a furious melodic riffing and instead of just filling the sound, it fills your brain with deep burning scars. And this is only the beginning; each track pushes the envelope just a bit further. The album is constantly shifting from mid-tempo groovy to Swedish-like melodic black metal with a natural ease, and sure has the riffs to support the act (the closing riff of Baleful Scarlet Star keeps playing in my head at random moments during the day).

The guitars are heavy and distorted and give the album the dreading sound it requires to drag you to hellish magical paths. The incredible (and quite audible) bass helps heighten the feeling of desolate desperation which tends to become the trademark of Australian extreme metal. The vocals are also amazing. Part venomous, part grandiose and with clear articulation are more than you may ask for. The drums are doing their best to push the album a little further into the masterpiece area. They won’t ruin a good riff with needless experimentations, but given the chance they go all inventive.

Production-wise, the album is outstanding. The songs are crafted with great care and keep the interest peaked at all times. You will literally be surprised at how fast time flies by when you listen to it. The sound is gloomy but not muddy; on the contrary, everything sounds clean and well separated. The well crafted mastering maintains a consistent atmosphere for the entire duration. The cover artwork is fantastic and only adds to a flawless album. HIGHLY RECOMMENDED.

Follow them at: https://www.facebook.com/ignisgehenna

Noteworthy Report: February 2017

In today’s overcrowded metal scenes, more than 100 albums are being released EVERY MONTH. Through ATF I try to review 2-3 of those albums, the ones that really worth it and don’t get as much credit as they are due. Unfortunately, this means that an awful lot of good albums are not going to be reviewed. This is why I post the “Noteworthy Report”, a monthly installment with albums that are either too noticeable to miss or albums that sound promising but I didn’t have the time to pay as much attention as they deserved.

As always, I will begin with the albums that usually pass under the radars and put the “established” acts in the end, since you probably got to listen to them already. If you believe some other way of order would serve the bands better, let me know in the comments.

 

Scuorn – Parthenope

Italy’s Scuorn have almost a decade on his back (yes, this is a one man band), but only released their debut just the past week. Symphonic black metal (that will remind you the great Limbonic Art at points) with a Mediterranean folk twist. Sounds really promising. Added bonus: the second CD comes with the orchestral versions of the songs.

 

Pure Wrath – Ascetic Eventide

Debut release for this one man band from Indonesia. Nice atmospheric black metal and a sound quality I wasn’t really ready for. At points the repetitions feel somewhat uncalled for, but the overall impression is a good one. I wish I had more time in my hands to focus in this album. If you do, don’t miss the chance to give it a spin.

 

Guerra Total – Nihilistic Malthusian Manifesto (The Ouroboros Cosmic Indifferentism)

Whoaaahaha! Total war is sure what is going on in this album. South American blackened thrash featuring some weird piano/synth moments that -once I got used to- actually managed to keep me interested throughout the duration.

 

Eterna Rovina – Metamorfosi

Another one-man band from Italy that plays mid-tempo atmospheric black metal. The album starts with some uncertainty, but a few songs in it picks its own direction and stigma. Don’t let the obvious mastering blunders turn you down, this is just the perfect stepping stone for improvement.

 

Sinister – Syncretism

Need I say anything more? Really?

 

So, what are some other interesting extreme metal albums that got released in February? Let us know in the comments…