THE THIRD OF THE STORMS: SEMI-RELEVANT RECORD REVIEWS BY AND FOR THOSE WHO FREQUENTLY CAN'T SEE THE FOREST FOR A BLADE OF GRASS AT THE FOOT OF ONE OF THE TREES. Forward, delete, repost, or rewrite as you see fit. Just don't include my e-mail address or full name. No crediting necessary or desired. If anything stated is flat-out wrong (i.e., “Hey Brad, Pek is from Belgium but you identify them as being from Minnesota” and not “Hey Brad, you say Dehumanizer rules but that record actually totally sucks”), please let me know and I will correct the error. There are no links, downloads, or label contacts, just text. If you aren’t willing to actively seek something out on your own, you don’t deserve to hear it (let alone have it). I offer the following for Lou, for Kevin, for those who have traded with me over the years, and for you. Hail Autopsy. ************************ SIXX (USA; 1991)-Sister Devil demo I’m curious as to how many folks would actually be into this if it weren’t for the VON connection. I don’t mean to sound reactionary in my jadedness, but really…other than about four or five European and Scandinavian dark rock bands there hasn’t been a whole lot of support for this kind of goth within the black metal scene. Personally, I couldn’t be more excited. It is raw and threadbare. Subdued at first glance, but seething with potency if granted a second or third. Much like VON in that sense. In a musical sense, it is primitive Sisters of Mercy through and through. Like the first six 12”s, but stripped of all warmth and denied even base-level cleanliness. Mid-to-uptempo basslines bounce and bound along at the forefront of the tracks…clearly tied to the Sisters but also to the more straightforward late-‘70s Joy Division and Warsaw material. Less obvious parallels include The Wake (early eps), Burning the Fields-era Fields of Nephilim, and Stiff Kittens (early eps). Indirect lines may also be drawn to Christian Death (Only Theatre of Pain), Cure (Seventeen Seconds), New Model Army (Vengeance), and the Southern Death Cult. Given their Cali foundation, I would be surprised if early (i.e., “Code Blue”) True Sounds of Liberty was not an influence as well. Possibly even Agent Orange at their bleakest. Reverbed (though otherwise clean) guitar meanders lazily…not aimless but brooding. Often lost in thought. Pondering the bass’ contribution and complimentarily commenting on its dark motivations. The vocals carry hints of Morrissey, but generally draw what essence there is from the baritone, flat-affect approaches of Ian Curtis and Andrew Eldritch. Emotion is present, though it feels residual…the final vapors of corporeal heat sluggishly tailing the ethereal trails of a recently-departed soul. Parts are very, very similar to Lik (try putting the driving E-string based bassline and secretive whispers of SIXX’s “Sister Devil” back to back with Lik’s “Hate to be Human”). To the point where I have to wonder whether Lik might have had privileged access to this demo under the veil of ultra-obscurity…thereby allowing them to pull liberally from it without serious concern that the source might one day be revealed. But, like LaVey learned with the exhumation and repress of “Might is Right,” the light of modern entitlement is both harsh and objective...and surprisingly pervasive. It is unlikely that this is the case for Lik, but I certainly can’t help but speculate on such matters. It’s all inconsequential, anyway. This is, without a doubt, one of my most favorite recordings that I heard last year. Horna (FIN; 2007)-Sotahuuto I have not been particularly excited about a lot of the material Horna has been putting out over the past few years. Too much simple melody. It’s hard to take seriously. This, on the other hand, is awesome. At first I didn’t know if this record was a one-off tribute to the old style or a new direction. I was actually hoping for the former, as the latter is inevitably a dead end if pushed past an lp or two. This is, it turns out, the case. It's a tribute to Bathory (RIP Quorthon). Appropriately, the record is nothing but Bathory (The Return, the first lp, and parts of Under the Sign of the Black Mark), Celtic Frost (Morbid Tales), Venom (Black Metal), and Hellhammer. The end result is an excellent blend of the strongest points of all of the above…not unlike combining “Bestial Lust” and "Sadist" and extrapolating the whole to a band-level. Is it melodic? Of course. But the key difference is it’s heavy metal melodic and not bubblegum melodic (e.g., a good portion of Envaatnags Eflos Solf Esgantaavne). The first track unashamedly drops into a twisted around version of "Procreation (ot the Wicked)" about halfway through. The second track lifts directly from “Necromansy” (and “Pisen pro Satana” and “War” aka tracks which previously “borrowed” from “Necromansy”). The third track is seemingly based on a reworking of the main riff from "Sons of Satan" and the chorus from “Don’t Burn the Witch.” It goes on and on. Really, half the fun of this record is playing it real loud and trying to guess which riff is sourced from where. Which is not to say it doesn’t rage on its own. Everything is well-played with energy and potency. The recording is raw and pungent, just like the lps the record is based upon (though maybe a little less dry with a touch of modern depth). The guitar is nasty and frayed. Drums and bass are clear and solid. Vocals are rasped in the well-established Horna manner. Everything merges perfectly. It’s basically to Bathory and first wave black metal what Armour is to Accept and 1985 para-metal. Given that, some will ask “why would you listen to this?” I ask, “why the hell wouldn’t you?” Ravensbrück (USA; 2009)-The Heart of Ancient Times mlp I have long been of the belief that if a band’s name includes “blood,” “wolf,” “moon,” “nacht,” or “raven,” there’s about a 95% chance that one or more of the members have some sort of real or imagined NS affiliation. That goes up to 98% when any of the terms are combined. Lou mentioned that there had been some controversy surrounding this band, so given the name it really comes as no surprise. Turns out it's a reference to a women's concentration camp from WWII. From what I gather, there was some sort of personnel change because of said controversy and the band name was changed to Wülfkült. So much for “Iron Will.” I think it’s arguable that if you’re going to promote that bullshit you could at least have the backbone to stand behind your words instead of hiding behind corpsepaint, pseudonames, and self-fulfilling cult obscurity. Anyway, on to the record. The atmospheric keyboard intro has a strong Graveland feel to it. So much so that I thought for a second that it might be a cover. Then I realized that they had just used the same first three notes as Graveland used for the intro to “The Celtic Winter.” Regardless, it sets the somber mood nicely. Filthy guitar kicks in shortly thereafter, followed by thin, blasting drums. The result is a blur and is remarkably underwhelming (a longstanding criticism I’ve also had about a lot of early-90s UK crust like Health Hazard and Sedition). Just as I was about to fast forward, the drums dropped into a 4/4 gallop and everything took off from there. The solid bass drum and pronounced snare hits provided the definition the blastbeat slurry was missing (I suspect he under-hits the snare during the blasts). From there on, the drums generally remain solid and decisive. Lots of lower mid-tempo marching and upper mid-tempo charging. The riffs capitalize on the pace, and offer both strategic vision and crushing advance. The tone is raw and ragged, and the approach reminds me very much of Szron, Blodulv, Kriegsmachine, and perhaps some of the Hate Forest material. An expression of battered, yet resolute power. One of the guys from Father Befouled/Hour of 13/Anu/etc. is involved, if that matters. Necrocock (CZE; 1992)-Practices of Undertakers demo My trading pal Rado sent me this tape from the Slovak Republic a number of years ago and for some reason I tend to forget I have it around. It would seem that I need to better keep on top of everything as it is unforgivable that I haven’t put this on in at least a year or so. This is a twisted little piece of filth that Necrocock of Master’s Hammer put out on his own in the early 90s. He was serving working in crematory and pathology services at the time and the demo is a tribute of sorts to the activity and spirit of mortuary practice and culture. The demo initiates with a keyboard piece, punctuated by the sounds of dripping fluids. I think it would have been more effective if he’d opted for a more organic, husky sounding pump organ as the piece has the potential to achieve LLN-level unease but really only executes something more along the lines of Castlevania. Once the first track sets in it doesn’t matter anyway. The tracks are raw and sinister, often evoking thoughts of the first three Master’s Hammer demos but with a greater sense of musical vision and accomplishment. Perhaps akin the the Klavierstück ep, but only if that piece were recorded with slightly less discipline and under “The Mass” values. The filthy recording begs an interesting paradox: How can something so dirty be offered in tribute to a practice that prides itself on its long-established autoclavian culture of order, precision, and sterility? Perhaps the answer is found in the practitioner’s mind, rather than the practice itself. This is an interpretation of the practice…warped and fragmented by the eyes of the practitioner. As Cerda’s “Aftermath” makes painfully clear, a clean and sanitized work environment is by no means indicative of a clean and sanitized mind. At least not necessarily so. Discordant notes and angular chords harmonize (at times hinting towards Voivod) without losing an underlying sense of aggression. The pungent, bittersour stench of chemical and organic material is reflected nicely as a result. The vocals rasp in a distinctly Czech manner. From what I understand, Necrocock has reissued these tracks along with some new material. Not to be missed. Terror Organ (CAN; 2002)-Buzzbomb: Vergeltungswaffe MHz 28” I clearly remember when this first came out, but for some reason did not pick it up at the time. I was quite enamored with Revenge and Conqueror and likely did not feel compelled to explore anything Helmkamp-related that strayed from that foundation. Same was true for the Feldgrau lp. Foolish on my part. Soundwise, this is exactly the kind of blown-out, lo-fi, power-electrified death industrial filth I love (though I could probably do without the WWII and S&M fetishism). Rhythmic cycles and manipulated waveforms emerge and build. Heave and sizzle. Mechanical, yet wet with fluid in the lungs. Some of the cycles are painfully clear and articulate, others protracted to a point of incoherence. The latter bears frayed rumbles that bring the spirit of Link Wray to mind…as if someone purposefully poked holes in the speaker cones with a dulled lead pencil. The redline is breached with regularity, warping indignantly. Traditional basslines and organ chords are referenced, but generally do not feel musical…perhaps akin to some of the Reverend Kriss Hades’ excursions in that way. At its most straightforward, the release pulses with hints of gabber…particularly when the classic 909 kick is employed. Samples and spoken word fragments are used gratuitously and frequently serve as the centerpoint of attention. They range from the anti-human to the depraved to the elitist. One particular Ragnar Redbeard-esque spoken word passage struck me as slightly presumptuous…even absurd. It describes the ascent of Might and the progressively expansive culling of the weak. At the logical endpoint, one man remains. All knowing and all understanding, with one bullet in hand. It’s an interesting concept…survival of the fittest not as a literal end in itself but as a fully embraced yet knowingly ironic means to an anti-human end. It also begs an interesting question: Where does a release like this play into such an agenda? Is it presumed that this is the product of those who would reside at the upper tiers? The elite few? Attitude, ideology, and words aside, it is arguable that the record is hardly a display of power. It is highly potent, yes, but potency is not necessarily indicative or supportive of dominion. Particularly when it is inherently and willfully corrupted by decay and degeneracy…frequently to the point of deterioration and sticky rot. Much like the rage of an alcoholic, such things are very real and may be genuinely feared in the moment. The moment passes though, and it quickly becomes clear that that which was expressed was not power but rage…the former demanding enduring discipline and tact, the latter only temporary focus and intent. In the aftermath, we find little more than the broken husk of a man or, in this case, democratized noise. I think this release is truly excellent, but let there be no illusions. Father Befouled (USA; 2008)-Obscurus Nex Cultus You know, I find it strange that there has been a resurgence of interest in the murkiest of the 1990-1992 US death metal style (e.g., Incantation, Rottrevore, Derketa, Killing Addiction). For many, many years that kind of material was given relative pariah status…laughed off within black metal circles (“sweatpants-wearing, moustache-having losers”) and dismissed even within the death metal scene itself (“bohhhh-ring”). Now it’s suddenly “cult” and “crucial” and everyone acts as if the past 15 years didn’t happen. Even Nachtmystium (the trendhopping “DC Talk” of secular metal) had incorporated death metal elements the last time I saw them, for fuck’s sake. It’s kind of frustrating to those of us who remained loyal to the style through and through. Anyway, that’s just a whining tangent and it certainly isn’t meant to call into question the motivations or quality of the release at hand. I only mention it because this record is so heavily weighted by the 1991 sound (to the point that it almost sounds like a lost piece of the initial Relapse Singles Series) and has received a lot of attention lately. The Incantation influence is unquestionable. Droptuned riffing…high harmonized speedpicking over blastbeats…low harmonized speedpicking over mid-tempo plodding…doomy passages…discordant note combinations…gratuitous false harmonics…relatively expansive tracks with zero soloing…drawn out guttural, stone-on-stone vocals…overt anti-Christian sentiment…it’s all there. And it’s all done well. There are definitely some timing stumbles and general slop that almost give it a demo feel of sorts, but none so monumental as to undermine the validity of the release. Blasphemous samples bolster the purpose. A blissful bloodshower has been successfully achieved here. Shroud of Despondency (USA; 2009)-Objective: Isolation I can’t decide how I feel about this one. It’s very creative and skillfully played, yet I’m unsure as to whether I like the manner in which the creativity and skill are employed. The guitars alternate between conventional melody and discordance, the former sounding very (very) mid-‘90s Swedish and the latter reminding me more of lurching, screamy hardcore from the late-‘90s (Deadguy definitely comes to mind with hints of Remain Sedate-era Rorschach) or possibly Cynic and later-years Athiest. There is an abundance of highly active speedpicking (sometimes effectively harmonized, sometimes doubled-up), but also swirling portions (perhaps like Casus Luciferi-era Watain or maybe even Ved Buens Endes) and over the top soloing (arpeggios and all). False harmonics punctuate the recording, sometimes for emphasis and sometimes to trigger a momentum change. I’m a big proponent of false harmonics in droptuned death metal and goregrind, but not so much here. It evokes thoughts of Children of Bodom. The occasional clean passage brings Opeth and Agalloch to mind, but that may only be because I don’t have any other reference points for that particular style of metal. The drums are highly processed and exceptionally precise. At first I thought they were triggered (which is typical for the style), but it turns out they are programmed. Regardless, they managed to get a good, semi-organic sound that works well within the overall recording. Vocals reflect the Gothenburg rasp and are backed by the occasional gruff-shout. It occasionally reminds me of metalcore’s early take on the Swedish sound, but is still solidly metal. Despite being placed up front, the vocals kind of fall to the background amidst all of the guitarwork. Unobtrusive keys enter and exit without overly drawing attention to themselves. I would be remiss if I did not emphasize once again how skillfully played this record is. Melody is successfully juxtaposed with sour alienation. Aggressive tangents rocket into the sky, only to crash back to Earth amidst time-shifting machinations. Very pleased to hear material like this coming out of WI. I can think of a bunch of folks who would love this, but it’s too melodic and clean for my tastes. Horrific Child (FRA; 1976)-L'Etrange Monsieur Whinster Where to start with this one? I'd like to think the cover makes it pretty clear where things are going, but really it only seems to make it unclear where things aren't going. In a composition that makes even the Trout Mask Replica lp cover look passingly normal, an afro-haired fish head sits atop an armored knight's posed body, while spiders, bats, snakes, and eyeballs congregate in the background. Not surprisingly, the music is an entirely strange accumulation of different varieties of weirdness as well. From what I can piece together, it appears to be a concept album which objectifies an individual's (Mr. Whinster, I assume) descent into absolute and complete horror. There is no explicit reference to Lovecraft, but the flow of the album in many ways mimics his classic first-person narrative style and general subject matter. The first track represents the outset of the experience, where lighthearted curiosity guides the pace. Drums, bits of rock guitar, mellotron, samples, tape loops, and chanted, grunted, and whispered vocals are woven into scattered and punctuated rhythmic structures. There are several points where guitar, bass, and drum fully kick in and it feels like the track is going to escalate or explode into a heavy psyche freakout, but the rock never materializes and the inclination is aborted as quickly as it was conceived. The subject appears to be exploring in a tangential fashion, with some leads glanced at with passing fancy and others investigated further. A topic of serious interest is ultimately identified, and fixated upon. It is dark and unpleasant, with rich history. The second track reflects this with a long, spoken word piece (in French) with sinister and unsettling atmospheric (occasionally clattering) instrumentation used as support. The narrative is captivating in tone, and an understanding of French is not necessary to appreciate the feeling that the narrator wishes to convey. The story revealed, realizations take place and it slowly becomes clear that the subject now knows too much of that which he should know nothing. But there is no turning back, and the exploration must continue to its endpoint. As the final track settles in, the indescribable horror is faced. It is a very subjective experience, emphasized by the first person framing. Quivering breaths speed and slow as footsteps run and pause. A heartbeat emerges and recedes. After much chase and evasion, light appears at the end of the tunnel and for a moment escape seems plausible. An uncertain interlude (very Pink Floyd-like) arises. It holds both hope and unresolved fear. The horror now feels distant, but undeniably present. It will choose its moment, and will relish the psychological deterioration that it causes in the interim. By the time the final psychotic outburst erupts in bestial Helter Skelter fury, it is both welcome and understandable. In the midst of surging adrenaline, knifetorn flesh, and bloodsoaked walls, an alarm rings out and the dream is shattered. Morning rises and the nightmare ends. Incinerator International (USA/NOR; 2004)-Head On I am a big proponent of the concept of structured or semi-structured noise and this is exactly what I want to see more of: A collaboration between the harsh, hostile power electronics of Slogun and the militaristic, sample-driven march of Folkstorm. In this kind of context, the structure does not offer "rhythm" as much as it represents "redundancy" and "cyclic advance." Instead of one, unidimensional beat that progresses along a linear timeline, we find something more akin to a merry-go-round affixed to a straight rail. As the entire monstrosity moves on a single axis through time, any given point on the merry-go-round rotates in a fixed circle while simultaneously moving up and down between planes. A five dimensional fuckshow. There is no music here. There are only fixed structures decayed in quality and integrity by acerbic random variables, aggressive unpredictable elements, and deliberate statements. There is also a lot of accusatory shouting. I need more of this. Extinction (GBR; 2006)-Down Below the Fog I’m always up for a good, blown-out corpsepaint photograph, but am admittedly a bit worn out on the Darken-style one-man band pictures (i.e., looking perturbed, unnatural, and out of place in the woods). The need for that kind of died out in 1996. Minor complaint aside, this release is very much what I’ve been looking for. Right on the line between noise and black “metal” (I know we call it “black metal,” but there’s no metal to be found). The prologue draws the listener in with multiple, delayed layers of vocals, noise, and guitar. Emit might be a fair reference point. From there, rhythmic structures are established via a drum machine (its efforts initially corroborated by timely knife sharpening strikes). At first plodding, the motion soon becomes confused and frantic. Occasionally tripping and slowing, but generally racing. Wounded in the woods, under pursuit. Notes and chords are corroded, so much so that they deteriorate, disfigure, and de-tune. A rancid feeling pervades as a result, and the guitar tone offers not admonishment but encouragement. The varying degrees of delay on the various tracks seep into the fabric of the recording, impregnating it with slippery oil and sticky black residue. The result can be disorienting…at times fully blinding, at times merely obscuring. I really like the overall effect, but it does have a tendency to muddy the aggression and temper the potency. I found myself searching for explicitly harsh elements, but was only able to infer impressions of them from beneath layers of 30# tarpaper. It would be interesting if those acute and prickly elements occasionally pierced through. But perhaps that would stand contrary to the nature of the recording? In the physical eye of the diurnal human, the cones are responsible for transmitting color and sharp, clear focus to the brain. However, their threshold is high and requires the light of day to fire. This is sensible enough, as night is meant as a period of rest and sharp color imagery would be of little practical value at this time. So as the sun descends and the cones sputter into dormancy, the rods take over. They provide no color. They transmit compromised detail. They disallow sharpened focus. They degrade the visual world to a grainy, rudimentary state. Yet despite these limitations, they humbly offer a critical, peripheral awareness composed of primal, base-level images which (if left to the cones) would otherwise fall blank. These are the images that are necessary for the possibility of survival when confronted by a nocturnal predator (there is a bit of dark irony here, as that which offers the chance of life equally strikes away the possibility of a blissfully ignorant death…instead lending optical and emotional definition to the visage of the killer as one’s final thoughts transpire and then expire). Given all of this, I suppose it only makes sense that the recording bears no sharp edges or focused pain. For it embodies the fog of night, and we are, by Nature, subjugated to both its mandates and whims. Run After To (ITA; 1985)-Ginn and Djinn demo Fuck yes. Sweet doomed heavy metal. It had me from the first riff and never let up. The sound is fully 80s, rough and natural with an underlying spirit of nastiness. Much is shared with “Relentless”-era Pentagram, early Pagan Altar, early Trouble, and Witchfinder General in that sense (though without the uptempo chugging the latter two frequently use). What distinguishes the band from these four is the vocals. All of the aforementioned bands utilized distinctly heavy metal vocals throughout the 80s, but Run After To adopted a style more common in early-70s hard rock and proto-metal. Sung, but not overdriven…at times almost lackadaisical. There are hints of mid-70s Bobby Liebling, but Wicked Lady or Flying Hat Band are probably closer to the mark. The guitar is perfect. It has that buzzsaw Marshall metaltone that gives the riffs a dirty, inimical edge, but also allows for clear solo shredding and scattered hot licks. The riffs are truly sick. Solidly Sabbath-derived, with elements of early Pentagram and Bedemon (and Stone Bunny) and maybe a very, very slight touch of NWOBHM (the bass kind of brings it out). I love that there’s only one guitar and that there were no rhythm guitar tracks added. This forces the bass to carry the riff during solos, which it does effectively. But the bass also takes liberties and frequently strays into harmonizations that emphasize the solos without losing the riff momentum. It’s clean, solid, and heavy as fuck. As are the drums. The style is basic yet tight and pummeling…you can tell he’s really punishing his kit. It both establishes and bolsters the trudging forward motion, thereby mandating full-on bangout from the listener. I can’t get enough of this. Cultes des Ghoules (POL; 2008)-Häxan Ah, Lou is getting to know my tastes quite well. This record is incredible. Raw, nasty, ritualistic black metal of the darkest shade. Animated by the same elder forces that birthed bands like Funereal Moon, Master’s Hammer, Tormentor, and Mortuary Drape into existence. Vocals are generally a moist, throaty croak that is up front in the mix and blanketed in reverb. They occasionally howl, moan, hiss, gurgle, snicker, and spit. The result does not necessarily sound like Attila, but there are certainly similarities in the approach and the underlying disorder. The recording is perfect, as far as I’m concerned. Each instrument’s presence is known, without being overly clear or overstated. The drums are raw, dry, and organic. Well-played and solidly in touch with the overall vision. The bass is clean in tone and adds a sense of solidity and dark harmony. Guitars are ragged, dirty, and on the thin side of the spectrum. They fall very much into the mid-range, which effectively allows the bass to assume full responsibility for the low end and the drums to cut through the mix with respectful ease. As for the content, tracks ebb and flow through doomy passages, classic speed metal gallops, and rudimentary black metal mid-tempo attacks. Black atmosphere seeps through every aspect, sometimes washing out entire parts and other times staining the distant background. Samples feed in and out and give the record a sense of narrative. In sum, it does not sound like a record that came out of Poland in 2008…more like something from Czechoslovakia or Italy in 1990 or 1991. My only complaint is that there is a full minute and a half of the first track that has a wailing baby in the background. I assume that this is meant to illustrate some sort of Rosemary’s Baby scenario, but the fact of the matter is that I hate children and I really, really hate hearing them cry. It nearly renders the track unlistenable for me. Otherwise, this is one of the best records I’ve heard in ages. Above and beyond the lofty heights established in the preceding ep. VENNT (CAN; 2007)-self titled I put off picking this up for a while due to the underwhelming name. As is frequently the case, I should have known better. This is incredible. Hideous bass, drum, noise, and vocal hate-sludge. It’s like taking the best elements of the less-obtuse Man is the Bastard tracks and mixing them with the best elements of the less-epic Seized tracks. The bass is huge and is mostly imposed via single notes, though strumming is employed as well at just the right moments. The tone is thick and full and reminds me very much of Kate’s playing in Zed. The rhythm section occasionally uses a particular halting style that is also very, very similar to Zed. I love Zed, so this all came as a pleasant surprise to me. The drums are basic and primal and offer little more than chronic, bludgeoning abuse, as should be the case. Noise samples squeal and squelch, chirp and scream. They are generally not the focus, but instead tend to reside at the periphery where they are able to intensify the anxiety and enhance the malaise without the distraction of unwanted attention. Vocals alternate between a blown-out, reverbed rasp and a retched roar. The songs are long but not unnecessarily protracted. Everything comes together exactly as it should. I very much look forward to hearing more. RU-486 (USA; 2008)-Princess of Rot C-10 With a name like RU-486, you know you can expect some serious nastiness. Depraved filth and detached revulsion pervade the release. The insert art and lyrical content recall the classic Pessimiser style, specifically the “Cry Now, Cry Later” series. Observational, yet with enough distance to let internal dialogue be the driving force (as opposed to direct confrontation with the subject). “I know what you were. I see what you have become. I fully understand and accept how things will end. I wash my hands of you.” The first track rumbles with momentum. Base layers point towards passing trains and an afternoon spent throwing an apartment’s worth of possessions down several flights of stairs. The observer’s internal voice is angry, saturated in total disgust. He can hardly believe what he is seeing but cannot decide if he relishes or repudiates his judgment. Mic feedback is shrill and unforgiving and disallows any possibility of being lulled by the grumbling undercurrent. The mic feedback takes precedence in the second track where it is allowed (and encouraged) to swirl, slash, shriek, and stab in a maelstrom of tin whistles and sonic daggers. The roiling low end carries less forward force here and seems to serve more as foundation than propellant. Lyrics are provided for the track, but none are executed. I think that vocals would have served the release well here. Otherwise, it’s excellent. Facilis Descensus Averni (RUS; 2003)-Da Zdravstvuet Black Metal! demo I can always appreciate when a band's vision is much larger than its means or its abilities. It often lends a certain urgency or Quixotic confidence to the music that tends to be lost by bands who have already settled in their competence or become accustomed to their privileged resources. In this case, we have some young folks attempting to take on the aggressive symphonic style of the early-90s (e.g., Emperor, Cradle of Filth). Without the prowess or equipment, the symphonic scope shrinks significantly and the presentation and production are more in line with 1997 Blazebirth than what one might expect from a 2003 demo. The band orchestrates within these confines, and pushes the limits wherever possible (almost as if Purgen decided to record a black metal record). The vocals are harsh and spit rapidly in a very Russian yet somewhat unusual style that tends to follow the lows and highs of the music (within a relatively narrow realm, not the widely disparate low-high grind style). The result is akin to a domestic dispute, with one voice tripping over itself to make its point before the other voice interrupts and shouts it down. The "argument" escalates out of control at times with one voice becoming increasingly deranged. Not "deranged" in the Silencer "look at me I'm so crazy does everyone see how crazy I am look at me" style (which I do like), but deranged in the hostile, rough-edged sense that you would be more likely to find on a troubled street corner at 4 in the morning as some vices reach their peak effects and others run dry. It borders on inhuman (i.e., Decrepit at their finest). The drums are dry and flat and it very much sounds like he's playing with two spatulas (again, '97 style). The guitars are low yet audible. Some plunky keys are involved but are mercifully (relatively) low in the mix and don't bother me as much as they otherwise might. One track makes use of a female alto, but just as it gets to the point where you think you might want to fast forward it drops into one of the most blown out, potent portions of the demo with frantic, Marduk-inspired blasting and rabid vocals. I really, really like this. My only word of advice would be to take a listen and form a solid, durable first impression before looking at any pictures of the band. Anubi (LTU; 1997)-Kai Pilnaties akis Uzmerks Mirtis When Lou sent this over he made an offhand comment about it being one of his most favorite records, ever. Coming from someone whose record list is so massive that it takes nearly two hours just to read through, that’s a pretty weighty statement. This is a truly unusual piece of work. Clearly visionary, with a certain level of competency and proficiency that allows for a sure-footed, resolute approach towards the vision (as contrasted with the stumbling visionquest of Benighted Leams, perhaps). The tracks are epic and highly orchestrated and reflect building and shifting moods and meanings. There is a relatively wide variety of instrumentation and playing styles, but it is all centered in 90s black metal. Distorted guitar (thin, fuzzy mid-range) co-mingles with clean-tone guitar and slide guitar. Strings and keys (sometimes choral, sometimes plinky…sometimes analogue, sometimes electronic) make scattered, generally minimal offerings and commentary. An alto saxophone (it may very well be a keyboard tone at times…I don’t think so, but I can’t tell for sure) contributes as well and seems to alternate between presenting as a haunting force and a confusing (or disorienting) antagonist. Vocals retch, but also ring out in warbled vampiric fury and moan in deep desperation. The bass is clean and busy and often finds itself out in front of the guitars. It plays off of the drums (particularly during the more halting rhythms) in a manner that is prog-like in nature. The overall production is thin and perhaps a little distant (or removed) and restrained, but certainly appropriate and in line with the Eastern European late-90s zeitgeist. There is a certain feeling present that reminds me of the “Jilemnice Occultist” lp and the “Klavierstück” ep from Master’s Hammer, wherein the listener is consciously and latently aware that he or she is observing the disciplined craft of someone with a serious, well-versed dedication to the dark arts. The listener does not find what he or she expects, because the revelation of the occult rarely bares that which was previously known and understood. There is a much to take in here. Few will find value in this because few are interested in seriously exploring the intricacies and contradictions of darkness and instead rely on familiar, base-level emotional expression. I very much like most of it, but am unsure as to whether I care for some of the elements (the odd keys in particular) as I do not yet see (and may not ever see or like) the linkages that necessitated their inclusion nor their role in the methodology. Repeated listenings will be required, and desired. Dark (CZE; 1992)-Sex n' Death Solid, early-90s Czech death metal. Lots of mid and upper-mid tempo parts with good, basic riffing. There's nothing truly remarkable about it (and certainly nothing to merit the cult-as-fuck chase it has received from collectors), but it's still a strong representation of early-90s death metal. Shares a lot in common with Morta Skuld, now that I think about it (minus the rabid collectability for Morta Skuld). My only complaint is that the vocalist tends to throw high "yeeeows" into his generally low-range phrasing. I like a certain amount of dynamics in death metal vocals, but didn't particularly care for these punctuations. Vomir (FRA; 2008)-self titled demo If you visit the contemporary art collection in the Milwaukee Art Museum, you will inevitably cross a certain piece by Ellsworth Kelly from 1965. It is composed of three 5' X 7' rectangle paintings, each of which is done in acrylic on canvas. It depicts nothing. It is a solid red canvas, a solid yellow canvas, and a solid blue canvas. Side by side, in that order. Upon closer examination, you can marvel at the richness of each of the tones or the uniformity of the paint distribution but a certain thought will persist in the back of your head: “I could have done this.” But you didn't, he did, and there it is. Interestingly, if you turn around and survey the room you will find no other solid red, yellow, and blue pieces. And if you leave that room and look at every other painting in the contemporary art collection? No other solid red, yellow, and blue pieces. The rest of the museum? No other solid red, yellow, and blue pieces. There is only one because there can only be one. It is so base and so minimal that any other artist's rendition would be redundant, meaningless. That is how I feel about Vomir. This release is 17 minutes of rolling, non-manipulated heavy wall of noise static feedback. There is mild nuance in the bass levels, but I assume this is based in chance and not artistry. Do I like it? Sure. I find empathy and value in this kind of harsh, unrelenting singularity. Do I need it? Absolutely not. I already have dozens of releases that sound exactly like it. It is just another solid red, yellow, and blue painting to throw onto the pile of solid red, yellow, and blue paintings that "artists" continually feel the need to release. I'd like to think that there is some sort of amazing story behind this (e.g., it is the result of putting a contact mic on the bleachers during a soccer riot, recording everything from the moment the first punch was thrown to the moment the first teargas canister was deployed, rerecording the footage through ten distortion pedals, blasting it from a car stereo while driving at 85 mph down the highway, and then recording that via someone holding a handheld tape deck out the window of another car speeding alongside). I'd be just as happy to hear that this is nothing more than a pisstake on the noise scene. My faith is minimal on both fronts. And I’m out seven bucks either way. Paria (GER; 2008)-Vermin Race It seems like there are a lot of really good records coming out of Germany lately. I love the recording on this. The drums are very organic and very prominent. The set-up sounds far more like a jazz kit (particularly the open snare) than anything you would typically hear in metal. Same with the bass. They combine to form a para-prog rhythm section that is granted the clarity to explore and innovate when desired or unleash fury when needed. The end result doesn’t necessarily sound like Stargazer, but there are certainly some similarities in that sense. In terms of actual playing, there is a very good balance between innovation and convention. The vocals are rough and mid-ranged. They are well-phrased, with twists and tweaks that add personality and passion while averting monotony. The drums are stunning. Deliberate and precise, yet slightly loose in the classic jazz style (kind of like "Expositionsprophylaxe" era Disharmonic Orchestra, now that I think about it). The standard blasts and 4/4 beats are executed flawlessly, with subtle, unexpected fills and change-ups scattered in a partially-obscured manner. Honestly, I could listen to just the drum track all day. The bass has a prog feel, both in tone and execution. It runs up and down the register, sometimes serving to reinforce, sometimes to enlighten, and sometimes to convolute. The guitar is basic in tone and generally presents as the most conventional element of the project. There are definitely some creative riffs, but for the most part it seems to effect a grounding purpose. Whereas the other instruments freely move in and out of other genres and subgenres, the guitar remains solidly planted in black metal. It took a number of tracks for me to realize the importance of this function. I was at first disappointed, but then realized that I likely would not enjoy the release as much if it had lost its footing. Like when Voivod went from Killing Technology to Dimension Hatröss. I like the latter, but I don’t love it like I do the former. Hatröss went too far out and lost its hostile foundation. They didn’t allow this to happen here. The result is a great record. As a side note, the last minute or so of the first track kind of reminds me of Moss Icon. Something in the melody, the rhythm, and the vocal phrasing. Ármány/Eternal Oblivion (HUN/HUN; 2004)-Warriors of Revenge split Man, this Ármány material is nasty. Horrid, reverbed drum machine. Fizzy, direct-to-4-track guitars. Weak samples (is that Hitler? Do they realize that he would have put them to death instantly for fabricating such degenerate trash under the auspices of "art"?). Semi-cartoonish, early Graveland style vocals. A keyboard intro that (probably unknowingly) pulls a couple note progressions from "My Country 'tis of Thee." It's a trainwreck through and through. So why do I like it? I have no idea. There's a certain amount of novelty in "found" garbage (i.e., borderline insane notes, drawings, or photographs you happen to find lying on the ground), but part of the appeal of those things is that they come from total strangers who live seemingly strange lives in seemingly strange places. This, on the other hand, has a certain amount of shared intent and perspective to it (in terms of approach, not ideology). It is highly absurd, yet still understandable (or relatable). I can’t help but find value in that. The Eternal Oblivion material fares worse. It's just plain bad, poorly recorded drum machine black-death metal with second-hand embarrassing vocals, unremarkable riffing, and a couple inexplicable, bouncy mosh parts (the beginning of the second track almost sounds like Cock and Ball Torture). The Ármány side at least has ambitiously misguided vision. Eternal Oblivion has nothing.