Ialdabaoth: G.O.A.T. / S.C.O.P.E.
Out 13th March on All Is Threat
Lo-fi, frantic black metal pulling from the futurist undercurrent of the genre, here reimagined as a random, feral entity, defined by illogical fits of violence, laboured interludes of despair, and uncanny structuralism. Despite the demo quality production – something utterly incapable of containing the flamboyant drum performance – one can clearly discern key melodic refrains and the dominant role they adopt in guiding these pieces through their latent will to chaos. The unhinged vocal performance, veering through the entire pitch range of the distorted oeuvre, also intervenes in the coherence of the mix, clogging up the sound with static waves that only enhance the tension stretched across this compilation. One is left wondering if this music would benefit following even a modicum of studio treatment. A unique vision of surrealist, post industrial black metal shines through regardless. But there is also a degraded element of barbarism that is only enhanced by the sloppy takes and limited audio quality. An uncanny gem of experimental extreme metal that is nevertheless typical of the French tradition.
Hammerfilosofi: Sigmun
Out 31st October on Osmose Productions
Alarmist black metal borrowing from the more frenetic elements of Gorgoroth or Mayhem achieves essentially one thing throughout its runtime, a prevailing sense of aggression and darkness. At the substantive level, whilst the album is not devoid of ideas, it runs aground on a lack of identity, leaning on empty speed thrills and histrionic vocals where no overarching vision not rented from past material can be found. ‘Sigmun’ is typical of a certain strain of modern black metal artist that understands the form only in terms of its intensity and darkness. Whilst this has been effectively articulated by certain artists (Antaeus being exemplary here), it misunderstands the key motivation behind black metal as a fully scoped out, complete world of expression. Hammerfilosofi are not ambiguous in their atmospheric intent, nor are they incapable of translating their blueprints into a reality, what they lack is range, depth, nuance, a breadth of horizon.
Araphel: The Endchanter
Out 31st October on Nuclear War Now Productions
Bathory laden black metal achieves an effective fusion of older epic tendencies and modernist freneticism. A free sense of play is tempered by rigorous rhythmic discipline, brief tremolo runs contrasted with anthemic riffing, loose, gruff vocals colliding with the dignified harmonic contouring of the lead guitar work. Whilst listeners averse to rockist trappings may find some elements of ‘The Endchanter’ hard to swallow, within context these crowd pleasing elements work. Araphel understand the power of effective arrangement, lacing accessible melodic licks with gravity via the more ambitious soundscaping project occurring in the background. In this sense each piece embodies an effective teleology, the listener journeys through each track, is introduced to recurring characters and brief diversionary excursions whilst remaining tied to the central narrative thread. The stylistic reach on display here may be easily missed, which in itself is testament to Araphel’s ability to effectively transform competing elements within black metal into something complimentary. It may still be that we are witnessing mere after echoes of older forms, but the efforts can be appreciated regardless.
Binah: Onkos
Out 31st October on Osmose Productions
Drab death metal borrows heavily from the dark romantic strain running through the mid-period Swedish style. Despite the album being structured as two lengthy tracks, the pacing is more episodic, a sequence of loosely connected ideas only occasionally willing to self-reference. The effect is not without merit however. By focusing more on how to stitch different sequences together, by accident or design Binah create tension by lingering on chords longer than is typical for death metal, or else cutting into unprepared doom segments that, in context, feel dramatic. Echoes of the classic buzzsaw guitar tone reverberate throughout, but unlike much empty OSDM gestures exploiting this tone, Binah are not beholden to it, articulating a clear melodic identity that leans into the surrealism of early Scandinavian death metal as much as it does the more straightforward pummelling of an Entombed. Drums, here provided by Dan Mullins of My Dying Bride and Blasphemer fame, frame the riffs well, offering an engaging array of patterns and fills that work as standalone units whilst somehow not interfering in the general flow of each piece. Although perhaps a little too ambitious for its own good, Binah stands out as at least attempting to forge a new direction on the ruins of the old, as opposed to indulging in one dimensional hero worship.
HÄXÄR: Teufelskvlt
Out 31st October on Purity Through Fire
Jagged, mechanistic black metal seemingly created in a lab for the purposes of appearing on the PTF roster. Whilst certainly achieving a greater range than is typical for this form of militaristic abrasion, one can’t help but feel that the aesthetic cart has been put before the compositional horse in this instance. HÄXÄR are capable of stringing together some decent melodies, clearly articulated themes, even some effective if modest developmental material. But one gets the sense that they felt the need to capitulate to a stylistic standard in order to land with a certain calibre of black metal fan. Namely one who assesses music in terms of tropes. A black ‘n’ roll segment here, a grind one there, industrial plodding, Mayhem derived modernism against Celtic Frost updated via Darkthrone funeral marches. And of course, overly zealous vocals. All smother what is otherwise a tight if limited package of traditional second wave black metal.
Fir: Het sinistere oog
Out 31st October on Amor Fati
Whistlestop tour through familiar second wave traits. What it lacks in ambition it makes up for in execution. Even the most uninspired riff seems to be placed with a purpose, finding its development or contrast at some point with the progression of a track. What begins from a place of plodding directness eventually opens out into a panorama of tremolo strumming guided by the underlying dark ambiguity that fuels all quality black metal. Drums stick with the Fenriz credo of just “being there”, pacing out the music without conceiving a desire to become the main character at any point. Modest harmonic material populates the otherwise sparse picture with a sense of moral intent. A darkness nonetheless tempered by wonder. Vocals are serviceable if unremarkable, which in the current context of black metal peppered with overly dramatic emotive performances is cause for at least muted praise. This last point could apply to the entire EP. Competent, inoffensive as far as route one black metal goes, internally consistent, maybe even fun, but never overstepping its compound and risking anything that could be construed as ambitious.
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