Aeon Winds: Aeon
Out 10th August on ATMF
Remix of debut demo from this Slovakian symphonic black metal outfit, originally released in 2010. Whilst comparisons to Limbonic Art may be apt, Gnipahålan is the more fitting contemporary reference point. An aggressively compressed mix, one dreads to think how many tracks went into crafting this monolith of sound and texture. Dynamics are achieved only by pulling back the lashings of synth tones and metallic instrumentation at regular intervals to allow for acoustic breaks, folk tangents, and lavish dark ambient. Much like Gnipahålan, this goes beyond merely leaning on texture and tone as a crutch, into a full on weaponisation of arrangement and production. Engaging melodies are present and correct, as is an array of riff traditions, any disconnection between them cleverly concealed by patient soundscaping. The picture that emerges is one of pure experience, an immersive, atmospheric flow of half formed ideas, given mileage by sheer will and presentation. If one tries to analyse this at a more technical level, annotating the progression from one theme to the next, the preparation of certain passages, or even the most rudimentary intentionality behind these pieces, it quickly collapses into randomness, clearly motivated more by whatever these musicians felt like doing at any given moment instead of a genuine attempt at artistic communication. This is especially true given that this outfit self-identifies as symphonic black metal. But in terms of sheer character and delivery it remains striking.
Horns and Hooves: Spectral Voyeurism
Out 16th August on Stygian Black Hand/Invictus
Somewhere under this cacophony of contrived eccentricities lies a serviceable occultist black metal experience. But Horns and Hooves seem intent on channelling the spirit of early Sigh with none of the restraint that defined the Japanese favourites’ first two albums. We therefore receive yet another EP replicating the experience of skipping through a playlist on shuffle. Each passing moment offers intrigue, character, novelty, and all the theatre one might expect of dark, carnivalesque black metal in the tradition of Mortuary Drape, early Sigh, and Grand Belial’s Key. But Horns and Hooves, despite their obvious knowledge and ability, insist on presenting themselves as a comedy act, breaking the unspoken pact between listener and artist within extreme metal circles by winking at the audience and reassuring us (wrongly) that it’s all for show. One is therefore forced to filter this dense display of content – even moments that reach for genuine profundity – through the lens of irony. That being said, the EP is still worth a spin for anyone starved of new material this month, if one is able to stomach the frankly awful vocals and unfocused melodic flow, many moments of delight remain concealed between the cracks.
Gravenoire: Devant La Porte Des Etoiles
Out 23rd August on Season of Mist
Above average endurance for melodic black metal makes this EP more worthy of attention than the majority of releases in August. Its only major shortcoming being the rhythmically loose and overly emotive vocals that – despite looking appropriate on paper – detract from the overall experience of energetic melancholia. That aside, Gravenoire demonstrate an adept ability to clearly communicate and develop themes, presenting a distinct identity in a sometimes homogenous subgenre. Melodic black metal– even in the early days – tends to blow its load early with strong riff currents and striking energy, only to lapse into monotony as ideas dry up and the same harmonic tricks are deployed with diminishing returns. But Gravenoire avoid this particular pitfall, as they constantly refresh the palette with supplementary material, effective tempo changes and switches in intensity, knowing when to pull back in order to contrast with the more intense passages. Above the raw mechanics sits a work of pathos, hope, tragedy, and intellect, offering a tightly bound vision concealing hidden depths of integrated variety.
Sanctuarium: Melted and Decomposed
Out 3rd September on Me Saco Un Ojo/BlackSeed
Intriguing death/doom not least because it posits a complete lack of interest in trying to please its audience. The slower aspects of Incantation riff traditions are once again wheeled out, supplemented by some Autopsy calling cards, with modest harmony introduced by way of development, but Sanctuarium are hubristically loyal to a doom metal ethos, rarely raising the tempo, intensity, or density. All is sparse, austere, barely more capable of life than an Anatomia. A damp, understated mix fertilises a drab, oppressive ambience, permeating the riffs with lackadaisical menace. Chugging, Bolt Thrower-esque runs serve as link phrases, raising the dramatic stakes in achingly incremental gradations before dipping into the next, tortuous, droning sequence of minimalist riffing. Modest harmonic material, minor variations, intermittent drum shuffles, all serve as welcome signposts in an otherwise curiously barren landscape. Paradoxically, it is precisely because of this scorched earth monomania that one’s attention is held by ‘Melted and Decomposed’.
Tour d’Ivoire: Tour d’Ivoire
Out 6th September on Antiq
Genre death occurs when innovation becomes not only impossible but undesirable. What follows is a zombie existence, whereby newer actors are free to pick and choose their favoured tropes, expanding them into entire musical frameworks. But without a renewed flush of ideas and creativity into the system, genres becomes thin, stretched, “like butter spread over too much bread”. This debut EP is an example par excellence of this process. Taking euphoric, sweeping tremolo melodies from black metal, injecting crowd pleasing rockist cadences, and the humanising effect of clean emotive vocalisations, one is presented with thin gruel without life or motion. Tour d’Ivoire are adept at crafting a melodic vignette yet, but seem unable – or even unaware of the need – to develop this into musical sentences that communicate something. Instead we are left with an experience akin to having someone’s dream described to you. An internal logic and apparent meaning dissolve under even the gentlest of scrutiny. Someone like Obsequiae – which this EP closely resembles in terms of melodic signatures – circumvented these creative voids by imbuing lavish medievalism and rhythmic diversity. Whilst this gave Obsequiae a longer shelf life than what’s on offer here, it is a shelf life nonetheless. But Tour d’Ivoire, in choosing much more contemporary techniques to paper over their cracks, resemble a machine forced to consume its own waste product, in a grotesque feedback loop of creative decadence.
Ifrit: Haunting Charnel Grounds
Out 6th September on Brilliant Emperor Records/Gutter Prince Cabal
Recruits the lawless atmospheric undercurrents of nascent caverncore into a more refined, technical entity of precision death metal. Notable for its ability to integrate disruptive percussive reports into a rich tapestry of chromaticism informed by healthy dissonance. Lead harmonies add consciousness and intentionality to these animalistic foundations, providing forward motion just as none seems forthcoming. Moments of full blooded techdeath are obvious, but Ifrit are able to integrate their headier ambitions in dexterity into a coherent (arguably a self-conscious incoherence) aesthetic of evil muscularity. Thematically it warrants comparison to the recent effort from Cruciamentum, albeit with far sharper contours. Their reinterpretation of VON’s ‘Watain’ into a work of minimalist percussive death metal is instructive in the extent to which Ifrit are able to effectively communicate in their chosen medium, digesting material from contrary forms in order to rework them into new and unexpected patterns.
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