Jess And The Ancient Ones 'S / T' review

JESS AND THE ANCIENT ONES

'Jess And The Ancient Ones'

(Svart Records)

Unless you’ve been living under a rock for the last couple of years, you’ll have come across at some point at least one of the many decidedly retro acts who would rather revisit a time when rock music wasn’t an overproduced shambles and artists in the relative ‘mainstream’ were dabbling in the occult for the very first time. Such acts I’m talking about are the likes of Coven, Black Widow and Jacula whose progressive rock and overtly satanic sermons gained them all significant cult followings and laid the foundations for many other acts who would follow suit. One such act is the Finnish septet (yes seven of them!) Jess And The Ancient Ones who have not one, not two but three guitarists of which believe it or not one who just happens to be Antti Boman, guitarist for none other than Finnish death metal legends Demilich. To say this is a big gulf in style from Demilich is an understatement.

Comparisons with the likes of Jex Thoth and The Devil's Blood are going to be inevitable, generally due to the fact Jess also like the two aforementioned have a fantastic frontwoman at the helm; though where Jex Thoth are more focused around all things doomy and Sabbath-esque and The Devil's Blood prefer dropping acid to riffs, Jess have a substantial and rather eloquent and catchy 70s prog rock and even pop slant and are considerably more accessible than the others. Recorded in the infamous Necromorbus Studios which has a stellar reputation and past roster of releases, 'Jess and the Ancient Ones' could not sound more impeccable, encapsulating everything great about this style of music with its fuzzy, analogue sound which is a welcome throwback to a time when music production wasn’t just a pro-tools plagued loudness war. For a slightly more accurate representation of their sound, take the occult blasphemies of genre progenitors Coven and add the guitar genius of psych lunatic Roky Erickson together with the rhythm and drive of Iron Maiden and finish it off with the fuzzy psych pop of The Shocking Blue. If that isn’t a dream amalgamation of musical styles then I don’t know what is.

In case you haven’t already guessed, it’s probably quite obvious I like this album, in fact I liked it so much the day I heard the promo I bought the vinyl version straight away, so make of that what you will. Anyway, onto the actual music itself, the sheer amount of bass driven groove on this album is obscene, right from the outset with opener "Prayer for Death and Fire" your assaulted by a barrage of absolutely fantastic bass licks, Jake’s eerie organ work and a web of interweaving guitar duels certainly to some degree influenced by the classic Smith/Murray partnership but more rooted in 60s and 70s psych. Just hearing Jess’ smokey and sulphurous vocals wailing “Hear my prayer for death and fire/ Love, lust and desire” is enough to draw you into their damp dark dungeon of starlit curiosities and induce you into that vociferous satanic ritual which Jess commands and delivers with an astute conviction. Technically, no they aren’t the best I’ve ever heard, but the sheer amount of passion and desire burning within suits this music so fucking well.

"Twilight Witchcraft" is a lot less direct, much more of a slow burner but no less impressive than the last, continuing with the captivating vocal performances, rumbling bass and fuzzy guitar riffs and is catchy enough I found myself singing along to it more than a few times."‘Sulfur Giants (Red King)" continues with a slow brooding, piano driven intro before descending into an almost anthemic epic, a devastatingly rapturous journey through the self, the astral and the arcane consummated by those transcendent vocals. Mid way it dies down again before exploding into a behemoth of galloping bass and blistering solos with those previously mentioned pop sensibilities; sublime doesn’t even come close. "Ghost Riders" again tones it down a touch, but turns the bass up to eleven for what is probably the grooviest song here. Its one-two restrained and sullen swagger is provocative yet again outstandingly infectious; if these guys have written a bad tune then I have yet to hear it.

CD Bonus (which unfortunately us vinyl nerds don’t get), "13^th Breath of the Zodiac" is up next, and is a little polished up from the single, this time containing dual vocal harmonies on the chorus with Thomas and follows more in the direct suit of the opener in its punchy rhythm and snaking guitar work. "Devil in G Minor" is the anomaly of the release, foregoing all things noisy and rock opting for what can only be described as a supremely noir, jazzy number with a piano melody which crashes over you like a cascade of fire while the superb organic vocals of Jess again set off every corner of it. There’s not much to say about "Come Crimson Death" that I haven’t said about any of the others previously, again beautiful in its execution another twelve minute epic which builds up to a crescendo of Deep Purple-esque organs and guitar genius. 

 

So, in case you didn’t know, I liked this album, so much so it’s my favourite album so far this year. For every bit of press they’ll get due to having a female front and as impressive as she is, it’s every bit about the marriage of the fantastic abilities of the guitar trio as well and mesmerizing basslines as well as Jess’ straddling vocals that emblazon the music like an exalted spirit. Fans of the genre will love this, for me it’s the best album this vintage 70s timewarp has produced yet; maybe not as ambiguous as The Devil's Blood but it far outstrips anything they’ve done so far, and I adored their last album. Your move then Selim... [10]

(Chris Cowgill)

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Negative Plane 'Stained Glass Revelations' review

NEGATIVE PLANE

'Stained Glass Revelations'

(Invictus Productions / The Ajna Offensive)

'Et in Saecula Saeculorum' caused quite a stir in the underground back in 2006, and not without good reason. Out of the blue, this album appeared and floored everyone. Why? The fact that something so ingenious and erratic was still possible in a genre in which many have dismissed as exhausted through and through of anything innovative and original. This is true to an extent, black metal is a genre which has been suffering majorly from a drought of inspiration of late, though occasionally a band comes along every once in a while to try out something new and against the grain. Sometimes it works, but more often than not it doesn't and said band fades away to languish in obscurity. This is always going to be the way because black metal fans more than most are always skeptical of changes, they can be a tough bunch to satisfy at the hardest of times. This is where Negative Plane come in. If you've ever listened to a band for the very first time, and after one listen to the album sat up and thought to yourself “Wow, this is unlike anything I've ever heard before, yet absolutely astounding; these guys are going to be big” then you've felt the same as to what I felt when I first heard Negative Plane. They retain enough of the traditional ethics and basis of traditional black metal and fuse it with a bizarre amalgamation of gothic horror and archaic styling that will unite even the most fickle of black metal fans.

Picture yourself in a vast cathedral, enshrouded in an ancient horrific mist, gradually dragging you down into a fear induced delirium, a swirling myriad of primeval voices strangle the remains of any rational thought you may have left like the rat in it's dying throes to the python. Extravagant, yes, but an album such as this deserves nothing less. I have heard various people liken it almost to a Lovecraftian horror soundtrack, and in a way there could not be a more apt definition for the sound of 'Stained Glass Revelations'. It's ominous, foreboding and terrifying, yet at the same time it has this almost ridiculous macabre carnival-esque atmosphere. This is due in no small part to the contributions of Nameless Void, who provides both the guitar work and the vocals. The guitar is swathed in layers of reverb and with the slightly more prog route they have taken in regards to the guitars this time around they have veered off into a more definitive psychedelic route, something along the lines of “A Church in Ruin” off their debut. The sheer variation and multiform nature of the guitar work is astounding, no second riff is ever the same, one minute NV is playing something similar to Celtic Frost, the next it's a totally abstract guitar lead where every note reflecting off every corner of your mind. I mentioned Celtic Frost before, and they probably are one of Negative Plane's main influences. Certainly on the debut at least, maybe less so on this album which is so unique it's a challenge in itself to try and compare it to anything. At times the album doesn't even sound metal, as I stated before at points it morphs into something almost like dark, twisted circus music, and the vocals of NV are the voices of cast; twisted and unhinged and spitting corruption. “The One and the Many” is a great example of this, rising and falling around the vocals of Nameless Void. The bass and drum work definitely shouldn't be ignored either, the bass resonating beneath the chaos above it and one of the main components of the overall atmosphere, while the drumming is best described as extremely unpredictable and unconventional. Bestial Devotion is a big fan of his cymbals, chaotic and complex at the same time with no holding back on the quality.

The atmosphere pours out of this record in waves, it's an atmosphere not dissimilar to that of 'Drawing Down the Moon' or 'De Mysteriis Dom Sathanas', one which is extremely dense, ambiguous and warped, an atmosphere that completely makes the album what it is. They also are one of the few bands who actually manage to use interludes to their full effect and not just for aimless filler, using them to build the suspense in between each song, and avoid using shitty samples and actually composing the interludes themselves. If I had to pick one song which would sum up the album thoroughly, it would be the enigmatic “Angels Veiled in Bone”. As dark and as depraved as the dungeons of Hades while throughout it all flicking a wry smile. Grandiose riffing and chromatic leads, psychopathic vocals and an atmosphere that puts almost every other band out there at the minute to shame.

 

With 'Stained Glass Revelations', Negative Plane move up to the top rung of the ladder and it would be a horrendous injustice if they don't get more recognition on the back of an absolute gem such as this. The move in a more psychedelic direction was an utter masterstroke by them, but I still don't think it's their 'pièce de résistance' as such, because I honestly think they have even better in them. I guess only time will tell. A work of unassailable genius. Obscure, mysterious and at times downright petrifying, all the while wearing a masque of perverse humour. Two words; get this. [10]

(Chris Cowgill)

Negative Plane Facebook

 

Saturnus 'Saturn In Ascension' review

SATURNUS

'Saturn In Ascension'

(Cyclone Empire)

There are some bands that just completely transcend their perceived genre confines they're that far ahead of most of their peers in sound and stature that no matter if they were to release a shitty album tomorrow you still have to sit back and admire the sheer magnitude and impact their influence has had in a certain corner of music. It's been nigh on twenty years now since their momentous debut 'Paradise Belongs to You'; the dismal Danish doomsters Saturnus are back with a full length after a barren six years with their gloom ridden soul siphon and believe you me, they're just as fucking miserable as before. I'm not going to lie when I say I wasn't holding out a considerable amount of hope for this release when I heard about it, I mean I wasn't expecting it to be bad, there's just only so many times you can release nigh on perfect album after nigh on perfect album, you've got to slip at some point surely? 

 

Their previous three albums have all been astounding slabs of melancholic doom/death and each different in their own unique way and straight from the opening notes of “Litany of Rain” I just knew this was going to be another classic. For those who're none the wiser as to who Saturnus are, they're one of doom metal's relatively unsung heroes with their heavily melancholic and gothic stylized brand of death doom, think of something along the lines of 'Angel and the Dark River' era My Dying Bride, Winter and Skepticism if you're looking for a close comparison as to what they sound like. 'Paradise...' is widely regarded as one of the genre's finest examples of this style and not without good reason, it's easily one of the top ten doom/death albums of all time. 'Saturn In Ascension' swings stylistically back towards the aforementioned album yet still incorporating elements from both the excellent 'Martyre' and 'Veronika Decides to Die' for a release which while extremely melodic and gothic in design, is still absolutely crushing in it's execution.

As I sit here with that familiar telling chill in the air, I can't help but feel that 'Saturn In Ascension' is exactly the perfect soundtrack to these portentous nights. “Litany of Rain” begins with some tasteful choral vocals before the guitar comes crashing down to slowly lumber through agony wrought riffs interwoven sporadically with those angelic chorals for ten minutes giving the impression of a black draped funeral procession, shorn by wind and lashed by rain. Simply put, if you were in a positive 'life is great' mood before you listened to this, you'll be knocking out the Prozac afterwards. Thomas' vocals are as impressive as ever, his death guttural a grave shaking growl while his clean vocals emotive if a little awkward at times. The new recruits on axe (or shovel) duty, Rune and Mattias play with such a conviction and familiarity that you'd be forgiven for thinking they'd been in the band from day one. The atmosphere which is compounded through their skull crushing, heavily encumbered riffs and forlorn, meandering leads is second to none and where the similarity to Skepticism comes to mind, though don't be mistaken as this isn't funeral doom, it's a tad more upbeat and dynamic than that, though it's inarguable that in the past Saturnus has certainly lent their sound to such bands. 

 

Such bands like Agalloch owe a great deal to these guys as well, again just listen to the debut and you'll hear what I'm talking about. Those delicate acoustic melodies and reflective, autumnal guitar passages present there return and are vividly present on “Wind Torn” and it bears a more than passing resemblance to Agalloch indeed. If ever a song threatened to tear your very soul out and nail it to a weather beaten cross then here you go, the guitar passages are mesmerizing and just welling in emotion and the vocals embracing a disconsolate abandon. It's entering the season of death and decay, and fuck if there's a song out there as fitting as this then I don't want to hear it. Depressing doesn't even cut it. “A Lonely Passage” and “Call of the Raven Moon” provide the non metal tracks this time around with the former a heart tugging soliloquy layered with acoustics and gentle piano passages. The latter is a good track also but comes close to being the only one here I would come close to calling filler material. The addition of the flute in along with the acoustics at the start was a nice idea but ultimately the song ends up being rather uneventful, not helped by the fact the spoken vocals sound a bit awkward and indifferent to be honest.

When your shortest track is still over five minutes, the quality and diversity which each track must contain becomes exceedingly important especially through a release this dauntingly intense and expansive, and something which 'Saturn In Ascension does well to maintain. The relatively brief “A Father's Providence” is a behemoth of a track with the most energetic rhythm here, a head-banger of sorts with more huge crunching riffs which gives us a slight glimpse to the bands primitive early roots with it's crude death gutturals interspersed with some tasteful piano work dancing underneath like droplets of water. As far as the second half of the album goes “Mourning Sun” is the standout track here, another with such an emotional burden that it'll bring you to your knees with its overbearing riffs weighing a tonne, slowly inching forward. Again I have to state how amazingly sublime the lead/solo work here is, just as it was all those years ago with Kim Larsen; the guitarist has the tone down to a tee so much so that the album would be a lot less memorable without, and guitar leads were never really a focal point with doom metal. Just listen to “Forest of Insomnia” and you'll know what I mean, the guitar work in it is similarly enthralling in the way it builds up to the climatic solo at the end.

'Saturn In Ascension' is pretty much a doom metal masterpiece, but then Saturnus are apparently only able deal in masterpieces as this is now their fourth. It's standalone in it's utterly agonizing brilliance, an emotionally draining, sprawling and pious journey of desolation laying clear all one's woes and grief for all to see, and another doom/death monolith in the genre to file alongside an untouchable legacy. Saturnus are finally back guys and they're here to show a new generation of pretenders just how the fuck it's supposed to be done. A hopeless, shining paragon of modern doom metal and one that'll you'll undoubtedly be hearing more about further down the road. Can these guys ever do wrong? It doesn't seem likely. A certain contender for album of the year. Buy or die. [10]

(Chris Cowgill)

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Visigoth 'Final Spell' review

VISIGOTH

'Final Spell'

(Self-released)

Just look at that cover, if that doesn't instill you with confidence from the outset then you're a lost fucking cause. Visigoth are a relatively new band hailing from the heavy metal wasteland of Utah, and coming at a period when it appears the latest traditional metal revival trend is slowly winding down, are an absolute breath of fresh air to these ears. Fair enough, as far as finding originality goes, especially in the traditional metal scene these days is about as fruitful as pissing up a rope but when it's performed as well as this, who the fuck needs originality? 'Final Spell' is the band's second release after their decent enough demo 'Vengeance' from 2010, and where it was set firmly in barefaced doom laden Omen territory, 'Final Spell' has all the characteristics and glint of a band who have finally 'found' their sound, where much bigger and better things inevitably await.

So they have abandoned the epic, pounding US style for more traditional style of flat out heavy metal with a strong aroma of Euro power metal, much like countrymen Twisted Tower Dire, in fact so much so 'Final Spell' is what their last album could have sounded like without the scourge of Johnny Aune. At times the similarities are uncanny and especially on “Call of the Road” which bears a striking semblance to 'Make it Dark', sound a bit more than coincidental, still I guess there are worse bands you could sound like. Jake's vocals are what really bring these tracks to life though, and imagine my surprise when I discovered this was the same voice behind the Agalloch worship act Gallowbraid. The tenacity and conviction with which he tears through the vocal melodies present on 'Final Spell' is astounding.

“Creature of Desire”, an anthem to metal's favorite two wheeled warrior machine has all the echoes of early Hammerfall and Priest with its sublime vocal harmonies, rolling riffs and spiraling guitar leads making the only place you want to be is hitting the highway with wind in your hair and metal coursing through your veins. The title track raises the bar even higher with it's criss crossing Maiden-esque shred and high tempo drumming, and when Jake nails that final scream you can't help but feel the hairs on the back of your neck stand up, even Halford himself would be proud. I cannot stress enough how strong the vocals are here, the polished production really does them justice. I'd liken them to Rain Irving from While Heaven Wept if I had to chose anyone. “Seven Golden Ships” has a imposing crunch to the riffing in it, the guitars noticeably heavier but no less effective [And how cool is to have that old Running Wild vibe in a song with such fitting name? - ED] Closer “Call of the Road” is more of a straight forward infectious 'rocker' for want of a better word, lively rhythms, blazing guitar leads and stratosphere piercing vocals, which as previously stated sound suspiciously like a couple of tracks from Twisted Tower Dire's last effort.

I've said it before and I'll say it again, no matter what genre of metal you tend to favour, there is nothing greater than pure unadulterated adrenaline pumping heavy metal performed the way the masters intended it, and this is exactly the way they envisioned it. Jake delivers his vocal lines like a man possessed and the performances on the guitars are nothing short of spectacular. Simply put if leather clad, fist-clenching and testosterone fueled metal borne from the smell of burnt tarmac and rubber is your thing then go buy this, if it isn't then go fucking buy it anyway and be converted. Bring on a full length, I'm getting withdrawal symptoms already, this shit is like musical crack.

(Chris Cowgill)

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King Dude 'Burning Daylight' review

KING DUDE

'Burning Daylight'

(Van Records)

I’ve always felt a certain unashamed bias towards Seattle’s newest occult folk export in the shape of King Dude ever since the day I discovered I share a name with that fascinatingly haunting voice behind the project, TJ Cowgill. Being a huge fan of neo-folk music myself this was also a bonus as much of King Dude’s sound is shaped by the pioneers of that scene such as Death in June, Current 93 and the ilk, or well it was anyway, as after listening to 'Burning Daylight' it’s hard not to notice the remarkable progression musically our man in black has made since 'My Beloved Ghost'. They’ve basically broadened the spectrum from a no frills acoustic neo-folk act into something altogether more inspired and distinct with 'Burning Daylight'. Infact the neo-folk influence has been hugely toned down in favour of something much more dark and apocalyptic, with a veneer of dark and sarcastic humour to it all. Gone are the catchy acoustic folk ditties such as “Spiders in her Hair” and “Big Blue Eyes” in favour of gloomy, occult and whiskey soaked gothic Americana with significantly more in common with Johnny Cash, Swans and Nick Cave than it does Death in June or Sol Invictus.

King Dude Bandcamp

Drawing his influences from ‘The Great Disappointment’, a period in the nineteenth century when a bunch of lunatics awaited the return of Jesus, and surprisingly ended up distinctly disappointed when the asshole didn’t honour his appointment, the album is expectedly involved with Christianity. “Holy Land” begins proceedings with a heavily martial drumbeat and is awash with the same obscure dissonance you’d hear from Swans, indeed I can even a slight Michael Gira influence in Cowgill’s vocals as he delivers his earth shaking baritone through a dense film of reverb. He’s always loved his reverb, and 'Burning Daylight' is again, drowned in it. It adds huge waves of atmosphere to the esoteric subject matter 'Burning Daylight' is based upon. The huge Swans influence again rears its head again in “I’m Cold” and also the magnificently morbid “Jesus in the Courtyard” which is essentially what Johnny Cash would have sounded like if he decided to take on a booming Gira-influenced form of no-wave. To say this track is stunning is somewhat of an understatement, it projects visions of an altogether disturbing, underground black and white 50’s America all through a thick veil of cigarette smoke. “He got the devil around his finger, Jesus around his neck, none wants him in this world or the fucking next” he bellows with a genuine sonority.

The likes of “Barbara Anne” and “Lorraine” lighten the mood a bit with their more romantic theme, for there’s only so many doom laden dirges the mind can take in one sitting, and although “Lorraine” for me is arguably filler material. “Barbara Anne” is another fantastic tune delivered with devastating simplicity with its one-two boot heel kick and whiskey soaked croak. Variation is key for albums such as these and it’s one attribute Cowgill nails right square between the eyes. No two songs are sound the same and in this genre of music that’s a fucking miracle. “Vision in Black” harks back to 'Love' and with its exceedingly infectious drumbeat resonating beneath a simple yet catchy guitar line with those heavily reverbed vocals just amounts to another song which you’ll find hard to get out of your head, and again the same could be said for the black humour of “I Know You’re Mine”. Hell there’s even room for a few shoegaze influences to seep through in “My mother was the Moon” in the delicate, glistening spangle of its guitar work and bliss laden vocals which unless the Dude suddenly lost his ballsack, I guess done by an external unnamed female party.

King Dude Facebook

The highlight of the album though must lie within the gloriously melancholic and over the top adieu to all of life’s ills in “Lord, I’m Coming Home”, a death laden serenade into the afterlife delivered with superb conviction in his deep, gravelly husk and almost Andrew Eldritch-esque howl on top of a blanket of angelic synths and bluesy acoustic guitar. At face value its depressing as fuck, but in reality its effect is one of those tracks where it’s drink in and sorrows out, glasses up and curtains down, a more than fitting end for a journey which began swathed in the darkness of Satan and eventually emerges into the light. When I say I could imagine this track coming off a Nick Cave album I’m speaking the truth, it has all the swagger and guile one would expect from our friend down under, and if that’s not a compliment then I guess nothing is. Steeped in dry humor and a sinister smirk, shrouded in stale cigarette smoke and swirling bourbon all delivered with a portentous drone, 'Burning Daylight' is a breath of fresh air into the neo-folk genre, but to be fair it’s far above and beyond most of what’s labeled as neo-folk these days. Plus, what the fuck is not awesome about an artist with a name like King Dude anyway? [9]

(Chris Cowgill)

Neige et Noirceur 'Hymnes de la Montaigne Noire' review

NEIGE ET NOIRCEUR

'Hymnes de la Montaigne Noire'

(Sepulchral Productions)

Neige et Noirceur are yet another one of the many impressive bands currently plying their trade in the burgeoning Quebecois black metal scene, and finally get around to unleashing their latest opus entitled 'Hymnes de la Montagne Noire', and if you thought their previous efforts were cold then this will freeze you to your very core. So Zifond is back, and appears to have slightly shifted to focus this time around to a slightly heavier weighting on the metal aspect of their brand of black metal and less on the droning ambience yet still retaining a huge atmospheric presence that helps deliver his style of minimalist, hypnotic black metal so seamlessly. Indeed if there was a more suitable album this year to listen to just as winter threatens its first ice laden advances on the landscape then I’ve yet to hear it.

'Hymnes...' contains five tracks of repetitive, atavistic black metal set somewhere in between the Norwegian style of the early nineties and the deathly cold standoffishness of ambience focused acts like Paysage d’Hiver and Darkspace. Take the first track “Hymne I”, the Norwegian influences are hugely apparent with its raw swaggering gait reminiscent of early Gorgoroth, but break this up with subtle use of synths and Zifond’s abrasive vocals and sparse minimalist passages of ambience and and you have the basic formula for the whole album. The riffing itself uses repetition to great effect and bolstered by the incessant drumming hammers through the effect of a perpetual blizzard grinding away at your very being. Indeed ‘Snow and Blackness’ as their moniker translates couldn’t really be more fitting.

Zifond’s vocals alternate between are more atypical black metal rasp and extremely sharp high pitched shriek, I suppose you could say in the same vein as many artists from the ‘Suicidal Black Metal’ end of things. “Hymne II” is much the same expect broken up by vast swathes of atmosphere with some rather obscure guitar passages and kicks back in with some impressive lead work before closing out with an imposing, caustic dirge which again showcases the hypnotic use of the riff work. “Hymne III” even finds some space to utilize some nifty acoustic work which helps emphasize the change ups between ‘atmosphere’ and ‘metal’ and together with its sorrow laden riffing and synth make sure by this point if you’re not set to deep freeze you’re certainly on your way there.

“Hymne IV” is the best track here, a beautiful windswept acoustic introduction which eventually succumbs to a maelstrom of simple yet effective fuzzed out guitar driven majesty. By the time we reach the fifth track there’s not really much more to say I haven’t already (disregarding the rather unremarkable cover tacked on at the end), the only fault being the paper thin production. Simply put, 'Hymnes de la Montagne Noire' is a brilliant release for anyone who considers themselves a fan of atmospheric black metal. It’s complex and hypnotic arrangements are colder than a polar bears ballsack, and although you’ve heard it all before, hearing it again done this well is ever so welcome. [8,5]

(Chris Cowgill)

Neige et Noirceur  

Death Strike 'Fuckin' Death' review

DEATH STRIKE

'Fuckin' Death'

(Dark Descent Records)

Death Strike need little introduction to anyone who would consider themselves seasoned in the realm of death metal, the legendary Paul Speckmann’s debut foray into the genre has garnered pretty much cult status now as a genre classic and not without good reason. This reissue of 1991 album by Dark Descent compiles the debut demo from ’85 together with four other tracks for the rather aptly titled 'Fuckin’ Death', and being brutally honest, could you possibly have a more suitable description for the sensory annihilation present on this disc? 

It’s that fact that half this material was recorded back in the mid eighties that really makes it stand out, death metal was still in its infantile stages back then with extreme metal making a transition between the crust influenced filth of Hellhammer and the ilk to a more brutal strain with bands like Possessed and Slaughter emerging out of the underground with a significantly more potent and brutal form of metal unlike anything heard before, and when you realise it came out at the same time as two monumental releases by the aforementioned bands you wonder why the fuck it never got quite as much attention as it was just as influential if not more so than those classics.

In case you’re one of the unenlightened still wondering who the fuck Death Strike are, 'Fuckin’ Death' was essentially just the first Master album under a different moniker, and if you ask me, along with Master’s debut and possibly 'On the Seventh Day' are the only things worth owning by Speckmann. The first four tracks as previously mentioned are from 1985 and astonishingly ahead of their time. It’s basically ‘Hellhammer on crack’, fast brutal and utterly primal death metal with that huge hardcore influence shining through. Paul’s vocals are a maniacal and wretched reverbed howl that just add to the chaos conjured with Kirk’s unbridled leads, the d-beat styled drumming and thundering, bowel shaking bass. Songs like “Pay to Die” and “Re-Entry and Destruction” are impossible not to like, it’s extreme metal heaven (or hell, whichever you prefer), straight-forward, catchy and downright punishing.

The next four tracks are noticeably different; “The Final Countdown” starts off with a doomy dirge and forgoes flat out speed for a suffocating heaviness that certainly hints at a change in thinking within the band, also evident in the increased length of the songs. “Man Killed America” follows much the same pattern while “Pervert” presses a little harder on the gas while closer “Remorseless Poison” reverts back to that ominous onslaught of bass driven death. And if like me you got your hands on the vinyl copy you also get a bonus 7” of rehearsal tracks which are a nice addition albeit nothing to write home about.

It’s the lo-fi shoddy execution and production of the whole thing which adds so much character to this release and so many others from the same time frame, a character and feeling which is sadly lost on today’s tech and blast obsessed bands. In my books 'Fuckin’ Death' is pretty much a classic of primitive death metal and when you consider when it originally was released that makes it all the more spectacular, and now that it’s finally seen a re-release it makes obtaining a copy something that won’t cause your bank account to have a fit. [9]

(Chris Cowgill)

Graveyard 'The Altar Of Sculpted Skulls' review

GRAVEYARD
'The Altar Of Sculpted Skulls'
(Pulverised Records)

Spain isn’t exactly the world’s most renowned hotbed for extreme metal, black and death doesn’t really appear to have much of a presence from our Iberian neighbours. Still nevertheless there are occasional gems that bubble to the surface from time to time, Graveyard being one of them. It’s been two years since their debut 'One With the Dead' which was to be blunt fucking devastating, and they’ve just unleashed upon the unsuspecting their newest EP 'The Altar of Sculpted Skulls'. And those who loved the debut will be pleased to hear that nothing has really changed, they’re just as deranged and ferocious as before, if not even more so this time around. 

Looking at the artwork, I’d almost be tempted to buy this for that alone. Of course it also helps that the music present on this brief EP is death metal straight from the top drawer. The first four of the songs here are new while the last two are re-recordings of the tracks from the split with Terrorist which slot in alongside the new material seamlessly. So for those not in the know, Graveyard extract the shameless groovy brutality of early nineties Swedish death metal and fuse it together with the tentative doom-death oppression of Asphyx. If that doesn’t whet your appetite then you’re a rubber eared false. 

The sound on this release is nothing short of punishing, a filth laden steamroller that’ll grind your bones to dust, and then reverse back over you again for good measure. The guitar work is fantastic, thick pulverising riffs with an altogether arcane tone are frequently followed by some outright sinister cascading lead work which together with Gusi’s flagellating and vigorous drumming and Julkarn’s booming grave dredging gutturals make for some extremely inspiring music. 

Even on ‘An Epitaph Written in Blood’ you can hear the Entombed influence vividly, especially in the beginning before you’re trampled under a huge annihilating riff made of all kinds of awesome. This is pretty much par for the course for all the material present here, extremely claustrophobic death metal littered with shredding solos, surging riffs weaved into passages of sheer pedal to the floor speed and slower Asphyx-esque dirges. The intricacy of some of the drumming and guitar work is simply stunning, and the way the vocals are half submerged by the blizzard of everything else likewise. 

It doesn’t stick around for too long but 'The Altar of Sculpted Skulls' is exhaustingly good. Death metal hasn’t been in a form as good as this in many years, and Graveyard are another band to add to that list of promising young acts currently making waves. If frenetic, morbid and downright repulsive death metal is your thing, then you could certainly spend your money on a lot worse. If you want innovation and melody then you’re looking into the wrong place. Their next full length will definitely be something to watch out for. [9]

                                                                                                          (Chris Cowgill)
                                                              [Originally written for The Metal Observer]

Graveyard 

 

The Devil's Blood 'The Thousandfold Epicentre' review

THE DEVIL'S BLOOD

'The Thousandfold Epicentre'

(Van Records)

Retro 60’s/70’s psychedelic rock throwback seems to be somewhat on the rise lately. With bands such as Ghost, Jex Thoth, Blood Ceremony and Year Of The Goat and such you’re spoilt for choice. The Devil’s Blood were one of the first to appear on the scene with their sublime debut EP “Come Reap” full of memorable hooks and awash with psychedelia, and they’re back to show everyone how it’s supposed to be done. 

In case you’ve been living under a rock for the last three years, The Devil’s Blood are an occult obsessed act from the Netherlands peddling their wares from the Jefferson Airplane, Coven, Black Widow and even Hawkwind’s school of rock. So basically, expect lyrics which would have your local priest running for his crucifix and traditional rock arrangements supplemented with long meandering passages of abstract psychedelic fuzz.

So onto the music itself, let’s be frank, debut full length “The Time of No Time Evermore” was just above average, only saved by one or two fantastic songs while suffering from a large amount of filler. “The Thousandfold Epicentre” is a vastly different and superior affair. From the utterly majestic and almost ceremonial “On the Wings of Gloria” (Ignoring the throwaway intro) right through to the fifteen minute labyrinth, “Feverdance”, “The Thousandfold Epicentre” almost never lets up the quality.

F., the band’s vocalist is what really sets them out from the crowd though; just take the closing vocal patterns in “On the Wings of Gloria”, they’re absolutely sublime and chillingly seductive. Couple this with the ever increasing sonic tidal wave of scuzzy distortion and compelling bass work and you have something very special indeed. Other highlights throughout include “Cruel Lover” with its initially snappy rhythm and subtle guitar work before descending into three minutes of obscurity. “She” has some fantastic lead work and vocal lines which slowly embed their claws in a little further each listen. “The Madness of Serpents” is probably the strongest track here. A simmering melody that just flat out radiates evil for its backbone and effect laden guitar work shimmering throughout before succumbing to a spacey, chromatic instrumental oddity which almost feels improvised, as a some of this album tends to feel at times, like a live performance without the crowd. “Feverdance” though I just don’t get, half a song of almost inaudible guitar twiddlings and sparse vocals before eventually coming to end with some pretty average instrumental work, what’s the point? Filler for the sake of it.

One thing that certainly can’t be faulted with these guys is the sheer effort put into the packaging. If you were one of the ones who got the 8/9” CD edition will know what I mean. A thirty six page showcase of artwork and lyrics which I must add is fantastic, it really makes this album feel like something special, and it is.

It’s also welcome every once in a while to come across a band in the rock/metal end of the spectrum who don’t solely exist to exploit the fact their vocalist is female. The Devil’s Blood are genuine to the core. They’ve improved vastly upon “The Time of No Time Evermore”, the song writing is more audacious and utilises some great experimentation. Yes a lot of it harks back to bygone times, but at the same time they manage to make it appear fresh and put paid to the claim they’re just a nostalgia act. Maybe before, but the truth is they’re much, much more than that now. [9]

(Chris Cowgill)

The Devil's Blood

Syn Ze Sase Tri 'Sub Semnul Lupului' review

SYN ZE SASE TRI

'Sub Semnul Lupului'

(Code 666)

Featuring one time vocalist from Negura Bunget’s last effort “Vîrstele Pămîntului”, Syn Ze Sase Tri are another one of those acts with connections, albeit loose, from that small cluster of atavistic and nature centered group that includes Negura, Martolea and Dorededuh. But that’s essentially where the comparisons cease as this group of Romanians toil away at a rather more symphonic and accessible style of black metal that is vastly distanced from the primitive atmospheric endeavours of their peers, choosing to mould their sound around that exhibited by Dimmu Borgir and Ancient among others. 

 

A swift dissection of the cover tells you all you need to know about 'Sub Semnul Lupului' really; on first glance it’s rather impressive, detailed and vibrantly coloured but typically full of the old clichéd CGI and wolves and warriors and all that twaddle. Closer analysis reveals an album that could have been so much more, one which often showcases brief flashes of brilliance unfortunately bogged down with a multitude of genre-notorious clichés and stacks of untapped potential for a hugely talented band. Given the rather awful name, which translates to “I’m With Triple Six”, first impressions weren’t too hot and on the first run through my opinion wasn’t exactly favourable. 

 

The first half of the album is mediocre at best really, by the book symphonic black metal with the keys and synths marauding around all over the place adding a ‘gothic horror’ type vibe which is the strongest aspect of the album and integral to their sound. None of the songs really stand out and grab you by the throat though, yet they threaten so much more. The guitar riffing is so flat and clinical, melo-death-esque thick chugging riffs with no imagination or thought at all really put into them, and at times it becomes completely overwhelmed by the keyboard infused blur that it often descends into. The lead guitar is better though nothing awe-inspiring; indeed it serves its purpose sufficiently without ever threatening much more. 

 

It does have its pluses though, the title track does begin with some interesting and moody Gregorian styled chanting before commencing its faced paced symphonic assault and “Vatra Stramoseasca” contains echoes of Sear Bliss in its subtle use of brass which is no bad thing. The dual vocals of Corb and Lycan are somewhat interesting and the deeper death growls add a welcome touch of brutality to a genre not otherwise renowned for such, while you have the more typical high pitched Shagrath styled rasp slotting in alongside. 

 

It’s from the middle of the album where it really shifts up a level altogether, notably in the acoustic grandiosity of “In Pantecu Pamantului” which bears a remarkable affinity to Nokturnal Mortum’s “Sky of Saddened Nights” and is utterly enthralling in its astral stroked melancholy. This significant shift in their musical focus I feel is a direction they should delve into in the future, as these Romanian acts have proved time and time again how fucking great they are at this style. “Inaripat Sie Impietrit” continues this furrow of organic, introspective and atmospheric brilliance with more focus on the ‘metal’ this time summoning crystalline visions of freshly bloodied snow and the dwindling embers of a setting sun. 

 

As it closes, I’m left so frustrated that they didn’t choose to produce the whole album in this vein; it’s that fucking good. Still, those in need of an acceptable dose of sugary symphonic black metal from the same furrows as Catamenia, Ancient and Graveworm I would say give it a shot, though the album's true power and grandiosity really doesn’t begin to materialize until its far far too late, though the potential is there clearly for all to see, it’s just what they decide to do with it next is the real question. [6]

(Chris Cowgill)

[Originally written for The Metal Observer]

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