The release is presented beautifully by Byelobog Productions, aesthetically speaking continuing the traditions of the past, depicting simple but mysterious nature photography and Gothic script. The title “Belus” referring to the archaic name for the the Norse life / rebirth deity Baldr and continuing the inspiration drawn from Mythology that has become integral to BURZUM releases. These elements suggest that BURZUM was to continue what had started so many years before, however, the music itself does not quite live up to previous efforts. The release was intended as a conceptual journey of Belus through his death, passing through the underworld and finally his return to life. This story is told through both instrumental and Metal compositions that are successful in creating those magical atmospheres that are so recognisable for BURZUM. However, although this is positive and essentially “Belus” comprises of well-written songs, the release is severely let down by the vocal delivery. One of the things that always made BURZUM so haunting and eerie was the inhuman high-pitched screams present. These vocals have now been replaced with a lower, more guttural shriek that really is nothing special and is devoid of any real character. At times there are parts sung in a clean voice and though these parts compliment the tracks, they do little to take the attention away from the main vocals. This is not to say that this is a poor release, far from it, however it would be fair to say that the vocals on “Belus” make this an average release when it had the potential to be outstanding.

Overall there are many positive elements despite the vocal criticism; the hypnotic melodies, sincere approach, effective old school lo-fi production and dark esoteric undertones. “Belus” should be commended for its loyalty to the sensibilities of times past and keeping the flames of nostalgia very much alive.

Whereas “Escaping the Abyss” tended to draw more upon outside inspiration & influences, “The Death of a Rose” sees the band begin to develop their own identity & sound further when it comes to technicality which is even more awe-inspiring on this release. Therefore the original influences are still detectable, but to slightly less of a degree and work more to compliment the overall sound. So yes, there are still obvious comparisons to bands such as OPETH and ENSLAVED to be made as the compositional style & progressive nature of FORNOST ARNOR does bear resemblance to these bands. The comparison to OPETH is still by far the most striking and in particular to their early material such as “Blackwater Park”. Though it would be fair to say that FORNOST ARNOR err more on the technical side of things as this element is what really stands out as a strength throughout “The Death of a Rose”. The band also experiment more with the use of clean vocals, both female and male which add a neo-classical edge at times. The female vocals are sung in an angelic, folky style and work well to create an atmosphere full of both beauty and lamentation. The clean male vocals are also more varied in their delivery than on the previous release and this adds to the overall depth of the release, especially when laced into the heavier sections of songs. The schizophrenic approach to song structures also seems more pronounced for this release; the acoustic sections, heartfelt song & dark piano melodies appear more poignant when combined with the extra cold, fast blackened riffs, lead guitar wizardry, brutal death growl and a whole battalion of blastbeats!

“The Death of a Rose” comprises of eight epic compositions of which you can expect extremely high quality from all angles; both in terms of creative content and production. FORNOST ARNOR have achieved the sort of results equal to those of OPETH and basically carry on the progressive tradition from this Swedish band whilst also building elements from different genres into their sound so it ranges from Black Metal, Doom, Death, Jazz and nature-inspired Pagan / Folk Metal. The capability to equal OPETH in the skill stakes deserves great credit, however, for future releases it would be good to see FORNOST ARNOR develop their personal approach / techniques further. They certainly have the ability to do so and building on originality may just achieve perfection.

Early on in their career MATHS successfully mastered the arty Screamo / Post Hardcore approach (in the classic 90s sense not the modern incarnation of “Screamo”) of cult bands such as FUNERAL DINER, ORCHID, CITY OF CATERPILLAR, PAGE NINETY-NINE, etc, with all the spellbinding atmosphere of “Eye of the Storm” era NEUROSIS or later CULT OF LUNA. However, “Descent” sees a distinct development in their sound, a far more personal approach that surpasses the already emotive and passion-filled atmosphere of classic Screamo. This building of character is hardly surprising as members of MATHS are actively involved in all manner of side-projects, including shadowy, obscure & complex depressive Black Metal band LIVIMØRKET, and also notably the Doom / Drone / Ambient project LIFE IN THE DARK. MATHS is a behemoth of creative energy & it’s no wonder that they have become so adept at songwriting to such a degree.

MATHS are one of those bands who sidestep the whole issue of “genre” thus appealing on many different levels. Although the band has roots in alternative Punk / Hardcore, there is much here to be found for those who follow the more obscure, outside edges of modern outsider Black Metal. For example; I have long thought that bands such as ISOLATION, TRIST, & AUSTERE, have much in common with Screamo / Post-Hardcore due to their use of acoustic / atmospheric guitar passages, somber mood & passionately screamed vocals. Even “Springtime Depression” era FORGOTTEN TOMB shares these elements in common. Therefore the aforementioned bands & also those such as LíAM, AMESOUERS & LES DISCRETS, are not a million miles away from MATHS and are certainly comparable though the approach is coming from different angles. However, MATHS includes other interesting elements such as poetic lyrics, spoken and punky shouted narratives that bring to mind SLINT plus also sensitively arranged dark piano / keyboard pieces.

It would be fair to say that MATHS should appeal to open-minded / artistic individuals who appreciate bands that encompass warm yet heavy atmosphere, powerful varied rhythms, melancholic riffs, sorrowful passages and awesome screamed vocals. This is honest and genuine alternative music at its heartfelt best and it’s as simple as that. Amen.

The initial comparison would be to BURZUM due to the intense and dramatically screamed vocals, however here the similarity ends as the compositions themselves have a far more modern edge. The album itself combines two main contrasting themes; as you would expect there are elements of depression, negativity, loneliness, fear, sadness, alienation. However, there is also an underlying element of hope, personal strength, and confidence that counteracts these dark emotional subjects. Therefore, “Par un Sourire” isn’t one of those albums that will drain all colour and life from everything in the way that the most vehement of Suicidal Black Metal bands tend to; it has a multi-dimensional approach that inspires thought rather than just simply a sense of crushing emptiness. BONJOUR TRISTESSE has more in common with bands such as AUSTERE, ISOLATION, HYPOTHERMIA, WIGRID, AMESOEURS, ANWECH and LIFELOVER for example. There is of course a strong depressive theme present throughout the release, but it is approached from a different angle that relies more upon the re-telling of a story or the communication of ideas as opposed to overt shock tactics used to appeal to the basic human need for negation.

Considering that this is a CD-R demo release, it has a clear and professional sound throughout. The guitar arrangements are atmospheric, with a warm clean tone. The guitars are a similar tone to LIFELOVER or later SHINING whereby there is more focus on the actual songwriting as opposed to murky distortion, and this is no disadvantage as BONJOUR TRISTESSE are skilled at creating narrative through dark passages and melodies. There is also the inclusion of samples that adds to the overall effect of the release, featuring the voice of a depressed, distressed girl speaking in German. BONJOUR TRISTESSE also make good use of double bass drums, which are successful at adding character to the release and also a slightly upbeat, groovy quality that contrasts nicely to the suicidal passages to be heard throughout. “Par un Sourire” has a dualistic quality that holds the attention consistently and always offers interesting stylistic twists and carefully constructed cathartic atmospheres. BONJOUR TRISTESSE have obviously put a great deal of thought and skill into “Par un Sourire” and the rewards are most certainly reaped in this release; the term “relief through release” is an ideal description and well worth experiencing for yourself.

CLOACA have an eclectic approach to Doom Metal, combining elements of Post-Rock, Post-Metal, chilling dark ambience and claustrophobic, monolithic, subtly industrialized soundscapes. As in the case of HATEFUL ABANDON; CLOACA are one of those bands that walk their own path & can’t just be shoved into a category along with everything else. Their experimental approach is genre-defying and should appeal to those who appreciate music which challenges boundaries without compromising on sound, technique or heaviness. CLOACA could be described as a combination of “Oceanic” era ISIS, “The Eye of Every Storm” era NEUROSIS, and GODSPEED YOU BLACK EMPEROR!, with the blackened edge of later DEATHSPELL OMEGA and ENSLAVED. The tracks on offer here gradually build and shift in intensity becoming heavier and ever more suffocating like all the best examples of Post-Rock / Post-Metal you will hear, however also reaching the dizzying heights of heaviness that rivals stalwarts of Doom such as ELECTRIC WIZARD at times. CLOACA also have the added individual touches of having cold, blackened screamed vocals, spoken samples, soaring ambience that chills and fires the imagination in equal measure plus an industrial precision that adds a bleak twist to the overall atmosphere. It’s also worth mentioning that the term “industrial” used here should not be taken too literally, it is more a reference to atmosphere than technique. For example; CLOACA features soundscape elements that have more in common with the unearthly ambient works of DARKSPACE and does not fit into the stereotypical mould of “Industrial”.

Fans of bands including NADJA, ASVA, WEAKLING, CULT OF LUNA, GOJIRA, VELVET CACOON, MOGWAI, MONO, CELESTIAL SEA, and the aforementioned bands should not hesitate to experience CLOACA. “Ghost Town” is an ideal choice for open-minded Metallers and also enthusiasts of unusual, sophisticated gloom.

The overall style could be described as a combination of atmospheric ambient Black Metal, Shoegaze, Post-Rock and Dream-Pop. Bands such as ALCEST, BURZUM, early FORGOTTEN WOODS, JOYLESS, LYRINX, ISOLATION, AUSTERE, VELVET CACOON, NUIT NOIRE, WRATH OF THE WEAK, LONESUMMER, TARANTEL, EXPLOSIONS IN THE SKY, & AMESOEURS come to mind while listening. In light of this; supporters of the aforementioned bands would be well-advised to experience “Rose Curl, Sea Swirl” as they would surely enjoy the release greatly. However, SLEEPING PEONIES add other characteristics to this already highly effective art-form. For example; as in the case of NUIT NOIRE, the sound also has unusual punky characteristics especially when it comes to vocal delivery. The vocals may be described as being of the BURZUMic variety; emotionally screamed & reverberated, however, vocally SLEEPING PEONIES also bring to mind Screamo / D.I.Y. Punk bands such as MATHS (UK), ORCHID, & CIRCLE TAKES THE SQUARE. These sort of eccentric details add to the overall atmospheres present & also the ability of the release to transport the imagination to other realms. SLEEPING PEONIES has an adept skill at storytelling & translating memories through both music and lyrics & throughout the release the listener can explore an isolated, beautiful and dream-filled nautical world that VELVET CACOON themselves would be proud of.

This is outsider Black Metal at its best; a warm, bassy, blistering wall-of-sound, interlaced with raw, honest emotion, subtle ambience, atypical varied tempo drumming, epic soaring melodies, somber piano pieces, haunting female vocals and most of all a real sense of artistry, personality & imagination. “Rose Curl, Sea Swirl” consists of seven tracks that are guaranteed to take you on a subconscious journey. Amazing!

The album is interesting firstly in that it combines recognisable song structures that hark back to the earlier days of XASTHUR whilst also encompassing new ideas and techniques. For example; I am reminded of early albums such as “Nocturnal Poisoning” as “Portal of Sorrow” features similarly unsettling compositions that take those unexpected paths that makes XASTHUR such compelling and obsessive listening. This is where “All Reflections Drained” was not so successful as despite it being a well-composed and thoroughly listenable release, the sense of character was not so prominent. I remember reading an interview with Malefic years ago about the way in which he composes songs and (if my memory serves correctly); a sequence of notes will be arranged & then re-written or played differently so that they appear to sound “wrong”. I find this notion of songwriting fascinating because it defies convention whilst also challenging the traditional concepts of composing music. This twisting of the song-structures makes for an original sound and those notes that are adapted to sound “wrong” actually result in music that sounds everything but wrong as anyone who supports XASTHUR will know all too well. So, aside these lugubrious and broken melodies, there are also new features added to the XASTHUR formula. Firstly there is the addition of female vocals which add a great deal to the overall atmosphere and effectiveness of the release. Marissa Nadler provides an elegantly sung and ethereal vocal resulting in the album having a truly unearthly and hypnotic effect. Boston singer/song-writer Marissa Nadler has talent in her own right, producing a spine-tingling brand of acoustic Dark Folk for her solo releases; her vocalisations combined with the talents of Malefic therefore work amazingly well. Bands such as WOLVES IN THE THRONE ROOM, UNHOLY, BLOODY PANDA, and ASVA have used beautifully sung female vocals in their music in a similarly convincing manner.

“Portal of Sorrow” is also a more organic and abstracted release. For example; throughout the album there is an almost Neo-Classical approach considering the use of occasional deep and velvety narrations, melancholic piano pieces, subtle experimentation with found sound sounds / sampling, cold ambience and soaring soundscapes in addition to the fuzzy and distorted guitars. At times the tempo of the music is also drastically slowed down and so the music is more depressive, funereal and grand than ever.

In short; Malefic concludes the chapter of XASTHUR with an outstanding album, combining cult signature style and brooding sense of underlying horror with bold new innovations. This release may not be for everyone but is most definitely one for cult followers!

The similarity to OPETH is striking, though it’s obvious FORNOST ARNOR have incorporated a myriad of influences into their sound due to the complexity of the eight epic compositions on offer here. The growled vocals are the element most reminiscent of OPETH plus there is also often a clean vocal present which is sung in the same style of delivery as OPETH but is perhaps slightly smoother and more melancholic than OPETH. There are also a few elements that FORNOST ARNOR use that will surely intrigue the listener. For example; “The Tragedy of Delusion” features some beautiful female vocals that compliment the harsher elements of the album. There are also some complex scales and solos present that strangely bring to mind bands such as RED CHORD, MORBID ANGEL, GOJIRA or perhaps DECAPITATED which surely adds interesting and unexpected twists, these elements also contrast nicely to folky acoustic passages and ensure that the attention is always well and truly grabbed. Musically, FORNOST ARNOR is also close to later ENSLAVED in terms of progressive song-writing, inspiration coming from the natural world, ice cold atmospheres and a strong sense of dark, turbulent emotion.

Overall this is a band that shows great promise having achieved such excellent results at such an early stage in their musical career. Make no mistake, this is one to watch and it would be no surprise if great success and respect greets FORNOST ARNOR in the near future. For fans of AGALLOCH, IRONWOOD, ENSLAVED, OPETH, later EMPEROR, INSOMNIUM, MOURNING BELOVETH, NOVEMBER’S DOOM, MORGION, RUSH, PINK FLOYD, MYRKGRAV, HELRITT, etc.

The album consists of one long track of almost an hour in length so a moderate degree of perseverance and patience is needed when giving it a listen and therefore this will certainly not appeal to those who are looking for variety. The track itself is ultra-slow, raw and abrasive with fairly simplistic, repetitive and monotonous riffs, the production is not in any way polished and the atmosphere is as ominous and bleak as you would expect. So, in other words as far away from “accessible” as you can get. The question is whether this album is too inaccessible for some, especially those who are not so accustomed to the swamp-like depths that Sludge can offer. Around the 20 minute mark there is a section that is surprisingly reminiscent of the repetitive yet effective MCD released by SKEPTICISM entitled “Aes”, albeit a less grand and more filthy sounding “Aes”. This is certainly a higher point of the album as it changes the atmosphere slightly during this apocalyptic and colossal soundscape. The Black Metal elements heard here are fairly subtle, heard in riffs at times, though perhaps having more in common with the more depressive end of the Black Metal scale. The primitive nature of the release may appeal to those who look for this trait in Black Metal / Doom, however, HIGHGATE is an acquired taste as it is what could be described as extreme, ultra-primitive, minimalist Doom and is very far away from any form of technical wizardry.

Inspiration behind this release, of course, comes from the more negative aspects of life; with themes of War, death, suicide, and desolation being present. HIGHGATE are certainly masters of creating feelings of building tension, discomfort and nihilistic darkness. Overall the album is an unrelenting experience, perhaps not the most original but ideal for the most anti-social followers of the genres HIGHGATE combine in such an ugly manner.

REAKTOR 4 are one of those bands who have real personality and obviously don’t give a fuck about what anyone else thinks so the creative freedom here yields maximum results in terms of innovation and listening experience. One of the most attractive features of REAKTOR 4 is that the album has nightmarish qualities and listening feels like going on a dark headtrip into some of the most surreal and disturbing territories within the human psyche. Combining harsh Industrial and apocalyptic, clinical, coldly mechanical, urbanized Black Metal and possibly a large dose of mental illness and nostalgic melancholy, this is a truly warped creation that both hypnotizes and numbs the listener in equal measure. The monotonous and abrasive guitars, the dark electro beats, the scathing distorted vocals, hallucinatory effects, industrial rhythms, creepy organ and accordion sections and desolate urban atmosphere all make for an amazing listening experience. Although REAKTOR 4 do have an original sound, the best comparison is perhaps to imagine a combination of LIFELOVER, APATI and “Cleanse, Fold and Manipulate” or “Too Dark Park” era SKINNY PUPPY. If you generally enjoy hybrids of Black Metal and the darkest of Industrial then this album is an absolute must! May be a good choice for fans of bands/artists such as ABORYM, MZ.412, DIABOLICUM, THORNS, BLUT AUS NORD, SKINNY PUPPY, HOCICO, DOWNLOAD, LIFELOVER, WOODS OF INFINITY, STAHLMANTEL, SPK, APATI, AMESOEURS, etc.

REAKTOR 4 offer pure unadulterated negativity and soundscapes of mental disintegration. In my opinion it would be fair to say that this album is very cool, very strange and VERY essential…..what more could you ask for?!

VELNIAS use mature song-writing techniques (border-lining on progressive), making use of many moody acoustic passages and slow, sorrowful riffs that gradually build and shift throughout each track. Although it is possible VELNIAS may appeal to those who follow bands such as ENSLAVED, DRUDKH, AGALLOCH, OPETH, and suchlike, the formation of the songs on offer here actually have more in common with the techniques used by bands such as later ISIS and PELICAN, though VELNIAS offer a more melancholic approach to this style and of course a strong Pagan flavour. The Pagan sensibilities and themes are evident throughout the release, from the roughly performed vocals, to the aesthetics, track titles, band name, warm-sounding guitar and bass and also the unobtrusive samples taken from the natural world. This is basically a risk-free release as you know what should be expected, there is little doubt of this. It would be fair to say that this release is an ideal choice for those who are dedicated and perhaps obsessive followers of the Pagan / Progressive / Folk area of Black Metal as “Sovereign Nocturnal” is a more subtle offering than most in this genre though it is not without intensity, due to this fact the release may also be a good choice for those who follow Post-Rock and are looking for something a little different to their usual choice of music.

Overall “Sovereign Nocturnal” is a very promising and sensitively composed release from VELNIAS, however it is likely their very best output is yet to come (with “Sovereign Nocturnal” being their first official release following a demo recording). The band have well-established and strong ideas when it comes to the inspiration behind their work and so this focused attitude will no doubt continue to yield interesting and hypnotic results. VELNIAS are certainly what may be considered an “outsider” Black Metal band along with acts such as the arty and serene WOLVES IN THE THRONE ROOM who also base their works on nature. To sum it up; “Sovereign Nocturnal” is a superb choice for environmentalists, experimental Metallers and modern-day heathens.

The first track entitled “Ephaistos” begins with an experimental keyboard piece, before launching into a blistering Black Metal onslaught. Many still frown upon the inclusion of keyboards, but there is always an exception to every rule (and besides which rules were made to be broken). The keyboard highlights add a nightmarish, hallucinogenic quality to the already surreal compositions. The vocals are also a real standout point, combining both low guttural vocals and a high pitched, passionately executed shrieked vocal that at times reminds of BURZUM and early FORGOTTEN WOODS. The guttural vocals are effective in adding a Satanic feel to the tracks and are performed in a similar manner to bands such as TEMPLE OF BAAL (Fra), and perhaps also bringing to mind bands such as AKERCOCKE and GOATLORD (USA) considering the demonic overtones, heavy bass and dualistic vocals. The second track, “Elizabeth” is dedicated to the Blood Countess herself; Elizabeth Bathory and is a worthy ode to her memory. Dark, heavy, weird, twisted and evil…..perfect! The final track “Immortal Horde” is the longest of the three offerings and remains as macabre as you would hope for, leaving a lasting impression with its mind-raping intensity, though this time slightly slower and heavier. The track begins in a way that is surprisingly reminiscent early PARADISE LOST (circa “Lost Paradise”) or even early MY DYING BRIDE (“As the Flower Withers”), crossing genre boundaries from macabre Death/Doom before returning back to Horror-fueled Black Metal. Overall the sound is fast-tempo, bassy, lugubrious and of course cold and grim though not lacking in melody.

One short but sweet 7″EP, only around 10 minutes in duration but with so much to offer! GORGON are well worth checking out for anyone interested in the first wave of Black Metal, or indeed anyone interested in the more eccentric and unconventional realms of the underground.

One of the aspects of this album that is so magnetic is the skill of HAMMEMIT to transport the listener to the darkest of Medieval times, no doubt one of the most fascinating and sinister periods of History. The term “Medieval” can be thrown around a lot when it comes to both Metal and experimental releases, but in this case it would be fair to say that HAMMEMIT has a genuinely Medieval ambience with an accomplished sense of historical vision. Overall the composition of the album utilizes modern electronic effects and techniques with simple structure and subtle Dark Ambience, yet the effect is colossal. I tend to think of Black / Dark Ambient as having a sort of “Butterfly Effect” when listened to; minimal yet profound and compelling in its execution. The tracks on offer here tend to feature what sounds like creepy Ambient soundscapes combined with unearthly strummed guitar effects, ethereal keyboard / piano pieces, monastic chanting, eerie spoken and whispered voices. There is an esoteric / occult religious theme running throughout the release in terms of both sound, lyrical content and aesthetics. I am by no means an expert on these matters but as far as I understand the name “Hammemit” is taken from the Egyptian Book of The Dead. One thing is for sure, this album is certainly thought provoking and fires the imagination. “Spires Over the Burial Womb” can lead the mind to themes of secret Masonic ritual, the Knight Templars, majestic ruins, alchemy, ancient magic and dark archaic wisdom, for example.

As HAMMEMIT have forged such an original sound, it is difficult to compare with other musicians or bands. However, the closest comparison would have to be to DARK AGES (Ukr), although DARK AGES tend to be inspired by pestilence and plague more specifically. Both HAMMEMIT and DARK AGES do however evoke nightmarish soundtracks to Medieval times using Dark Ambient techniques; in this sense the comparison is relevant. “Spires Over the Burial Womb” may appeal to those who appreciate artists such as VALEFOR, DARKNESS ENSHROUD, BLACK FUNERAL, VOMIT ORCHESTRA, AGHAST (Nor), BLACK SEAS OF INFINITY, EXTINCTION, etc. HAMMEMIT is an ideal choice of music for those who wish to find escapism in its most enjoyable and macabre form.

One of the elements that makes NEUROSIS so successful (when considering their later releases) is their aptitude for building amazing atmospheres through layer upon layer of slowly building walls of sound and sludgy feedback. YEAR OF NO LIGHT also manage to pull this off with ease while also maintaining their own character. “Nord” tends to take the basic NEUROSIS / ISIS format and really stretch it to its limits, throwing in some extra heaviness in the form of droning doom-laden riffs, subtle interludes and calming reflective instrumental sections, Post-Rock style crescendos, and cold, melancholic electronic ambience.

Considering this is only the first official release for YEAR OF NO LIGHT (though they have released further titles since its release in 2006), it is certainly a masterful album that is both mature and could easily be mistaken for the works of a longer established band. Perhaps then it is not so surprising to learn that the band shares members with none other than MONARCH among a number of other bands. Therefore it seems natural that YEAR OF NO LIGHT tend to veer towards Doom in their overall approach. Although this release may be loosely defined as Post-Hardcore, it is definitely at the more extreme end of the scale. The style of vocals performed also support this statement as generally they are harshly executed in a screamed or roughly shouted style. Admittedly this style of screaming that is certainly more common in the Hardcore / Punk / DIY community and will not be to the taste of those who strictly follow Metal in its truest of forms. However, “Nord” is the ideal choice for those who enjoy arty, experimental hardcore. YEAR OF NO LIGHT may be described as “thinking man’s music” and may easily appeal to fans of ENVY, CULT OF LUNA, EARTH, ISIS, SWITCHBLADE, MONO, BOTCH, NEUROSIS, 65 DAYS OF STATIC, THE OCEAN, ANDSOIWATCHYOUFROMAFAR, BURIED INSIDE, CONIFER, SNOWBLOOD, ROSETTA, CONVERGE, RUSSIAN CIRCLES, PELICAN, and HUMANFLY. Challenging Doom / Drone / Dirge / Post-Hardcore for the free-thinkers and well worth taking a chance on!

It’s obvious from the onset that FAAL have put a great deal of work and careful contemplation into the four lengthy compositions that feature on “Abhorrence – Salvation”. As you would expect, the hard work has paid off, resulting in a highly accomplished and unusual album. The high level of quality is something which may generally be associated with Ván Records releases as the label never fails to deliver individual and often genre-defying music (for example; RUINS OF BEVERAST).

“Abhorrence – Salvation” brings to mind “Dark Metal” era BETHLEHEM, combined with the apocalyptic yet hopeful Post-Rock compositions of MOGWAI, EXPLOSIONS IN THE SKY or MONO, the dark sonic drone of BLACK BONED ANGEL, and the grandiose Classical ambience of GODSPEED YOU ! BLACK EMPEROR. There are also highlights present such as the sporadic appearance of moody piano pieces that add to the overall dualistic feeling of the album. FAAL tend to blend together seamlessly atmospheres that are at once aggressive, melancholic, desperate, whilst also strangely hopeful and bittersweet. Inspiration comes from the sort of negativity that is to be expected from a band with funereal interests so expect themes of loneliness, grief, solitude, decay, death, hopelessness and isolation. May appeal to fans of (early) KATATONIA, SKEPTICISM, DOOM:VS, AGALLOCH, (early) BETHLEHEM, REMEMBRANCE, BEYOND BLACK VOID, WIJLEN WIJ, UNTIL DEATH OVERTAKES ME, etc. Limited to 200 and exquisitely presented so well worth checking out while you still can!

As with Pennhurst, the approach here moves away from the largely Black Metal-structured MNR, back to Sacrilegium era recordings. Meaning: Industrial drone, haunted noise!

Being part of the Pennhurst experiments, location recordings are from the Pennhurst State Hospital in Pennsylvania. This one-time Sanitarium is now a decaying shell, deserted after the accounts of institutional physical and mental cruelty became public knowledge and permanently closed after lengthy prosecutions.
Using techniques originating from the first demo, T.O.M.B. slams metallic receptors into the brittle walls and rusting metal structures within the building, bringing to life the decades old history buried in this Torture Palace.
Other locations visited include: Waverly Hills, Kentucky; an abandoned church in Philadelphia; tombstones; and on Blood Vortex: human blood.
The direct and reverberated sounds gathered – and later manipulated – are very strong. Clean and expansive. Then melted into well-mastered (Satan’s Palace – also MNR) collisions, distortions, abstractions…Noise!

As a full-length recording (approaching one hour) UAG is a complete and single-minded package. Each track explores subtly different techniques, the results vary from punishing power-electronic white blasts (Blood Vortex) to claustrophobic underground drones (Mausoleum Witchcraft). Throughout, the location recordings unify the sound; never allowing your own focus to shift too far. The track titles, e.g., Serpent Moon Seance, Graveyard Requiem, may suggest a different theme, but these too seem more abstract when taken in context. And personally, T.O.M.B.’s ability to choose locations with disturbing histories and shape equally disturbing music – to physically reawaken these places – is always the visual theme behind the sound.

A marked progression as T.O.M.B. continues to master this form of Black Noise brutality. The audio overload and organic, dirty, corporeal manner these recordings are crafted are what set T.O.M.B. apart as a leader within this ugly genre!

Updated: February 15, 2010.

Resoaring from the Depths (referencing their latest release since 1997) is a short MCD – three tracks, never much over four minutes, and an intro.
Heavy melodic guitars range from black metal to recognisably mainstream death / gothic metal, aided by unimposing but no less unambitious keyboards.
From Depths have incorporated ’symphonic’, modern-gothic influences since their inception in 1991. The newest material strips away some of the more blatantly mainstream elements giving it a darker, Black Metal focused atmosphere.
The genre From Depths are recording is well established and predictable, as such if your interests reach that far you will find an enjoyable sound, well executed EP, and a band with a decent history to dig into.

http://www.myspace.com/satanicholocausto

It’s difficult to write about Rust without mentioning their influences, and perhaps presenting them as unoriginal because they are so backwards.

String bending buzz saws, loud reverb vocals, and heavy hit drums just well-enough mic’ed. This is biker jacket and aviator metal. Sharp sounds and metal uh’s! Early Darkthrone with more Hellhammer retained.
Five solid tracks. Energy, attitude, pace and spirit is crystallized in “A Dream of Skulls” and the remaining tracks build on and feed off it.

The amount of new ‘retro’ bands grows every year. Tangorodrim is notable, and Rust stands out alongside them as a quality example. This release is all about presenting Rust the idea, future releases will hopefully expand on that.

The cellar door cracks open!