Category Archives: Reviews

Reviews we have written for non-Todestrieb artists.

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Reviews

Review: Reaktor 4 – Reaktor 4

Total Holocaust Records are one of those labels that always release excellent quality releases one way or another. REAKTOR 4 is no different in that it is another fine example of a THR release, but it is also highly experimental and has a clinically cold atmosphere that Swedish bands in this vein seem to create so well. Along with bands such as LIFELOVER (this release does actually feature B. of LIFELOVER as session vocalist) and WOODS OF INFINITY; REAKTOR 4 have created a sound that blends together some very random influences, approaches and samples / electronic effects in a very clever and profoundly strange manner. This is what makes the release so instantly compelling as it transmits a really strong and eccentric character that it is impossible not to be absorbed by.

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?!

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Reviews

Review: Velnias – Sovereign Nocturnal

“Sovereign Nocturnal” consists of three epic nature-inspired tracks of Pagan / Down-tempo / Folky Black Metal. Although this looks like an EP (and is also priced as an EP), it is actually more like a full length album as the tracks are such lengthy compositions. However, it is easy to see why the tracks had to reach such proportions of length. The emphasis here is most certainly on gradually building towards Post-Rock / Post-Metal style crescendos whilst also creating a sombre and majestic atmosphere. The subtle development of the shadowy atmosphere here is something that certainly can’t be achieved through break-neck speeds or crudely thrown together melodies.

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.

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Reviews

Review: Gorgon – Immortal Horde EP

Released by Wounded Love Records in 1993, “Immortal Horde” is a rare underground gem from classic French band GORGON. When listening to the three tracks on offer, it is difficult to believe that GORGON did not achieve more recognition as even in their embryonic stages the band already had not only a strong character formed but also a highly recognizable and unusual sound. Listening now, it is amazing to think these tracks were written so long ago as they still sound fresh, original and timeless. Of course, there is that 1990s atmosphere present that many Black Metal bands aim to recreate today, but there is nothing like the real thing. In this sense, the atmosphere of dark nostalgia also makes this release obsessive compulsive listening.

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.

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Reviews

Review: Hammemit – Spires Over the Burial Womb

“Spires Over the Burial Womb” is the debut release for HAMMEMIT; the new identity of UK Black Noise project EMIT; though now featuring additional members to the enigmatic U.I./Malachi. Released by the well-respected label Total Holocaust Records (a personal favourite of mine), this is a truly stunning album, steeped in confounding mystery and evoking a morbidly religious Medieval atmosphere. After following EMIT for a number of years I was keen to hear the difference in direction that inspired the name change to HAMMEMIT, and I have to say that the album is perhaps the most consistent and effective to date. Whereas EMIT are in a similar vein to ABRUPTUM (although undeniably superior to ABRUPTUM), HAMMEMIT is totally fresh and individual. After many productive years in existence for EMIT, “Spires Over the Burial Womb” is a superlative work that takes the band to a higher level of evolution. The name change to HAMMEMIT does make perfect sense when considering that this album is clearly marking out a new phase of creative invention.

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.

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Reviews

Review: Year of No Light – Nord

When it comes to influential bands such as NEUROSIS, there are many who wish to imitate their sound, some are predictable perhaps even a little dull, but others such as the French YEAR OF NO LIGHT show some real promise in their own right. Despite the undeniable similarities to stalwarts such as CULT OF LUNA, ISIS et al, “Nord” is full of soaring epic melodies, avant-garde effects and blistering screamed hardcore vocals that really tend to linger in the memory. Yes, YEAR OF NO LIGHT make no secret of their influences but their talent for epic songwriting cannot be overlooked.

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!

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Reviews

Review: Faal – Abhorrence – Salvation

I first consciously became aware of Post-Rock influences in Black Metal through bands such as CAÏNA, (later) DEATHSPELL OMEGA and FEN. When I first started following Black Metal around a decade ago, the thought of combining two such genres would have seemed hugely unlikely, however, the combination is complimentary, beautifully atmospheric and enthralling. After discovering CAÏNA I became totally hooked on this approach to Black Metal and so FAAL was a mandatory purchase. Although FAAL do combine Black Metal and Post-Rock influences, there is also a strong element of dark, funeral Doom making them stand apart in terms of originality and innovation. There surely can’t be many bands around writing Funeral Doom that incorporates classically arranged Post-Rock structures!

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!

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Reviews, T.O.M.B.

Review: T.O.M.B. – Uncovered Ancient Gateways

Completed at the end of 2009, UAG (Uncovered Ancient Gateways) is a wholly new T.O.M.B. work, it is also a continuation (faze 2) of the experiments that began with Pennhurst (July 2009). These two experiments are leading T.O.M.B. toward the next major work: Fury Nocturnous.

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.

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Reviews

Review: From Depths – Resoaring from the Depths

Symphonic Black Metal is a genre that will not garner much interest in these pages. The fact that it is used sparingly, despite labelling themselves as such several times throughout the biography, works in the bands favour.

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.

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Reviews

Review: Satanic Holocaust – Promo 2008

Satanic Holocaust is the partnership of two South American’s (Lord Blood on Drums, Lordnatt vocals, guitars and bass) living in Germany. This may normally be useless trivia, but here it explains an interesting clash of styles which translates directly into the music.
There are remnants of the South American driving pounding drums, minor thrash influence especially on the final track; but it resembles more immediately the European Black metal sound especially the guitar melodies in the first two tracks. The result is impressive.
Sexecuting Jerusalem’s Whore is a good black/war metal track lifted above mediocre by the Latin-influenced vocal delivery on the chorus. Minor but effective.
Promo 2008 is an notable first release and should be sought out by fans of both European black metal and Blasphemy-inspired war metal. We will be interested to see if the forthcoming material continues to draw from their native sound, without becoming a clone, as they could grow into a respected, unique band within a traditionally-traditional genre.

http://www.myspace.com/satanicholocausto

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Reviews

Review: Rust – Rust

Fan of Darkthrone, Aura Noir? You’ll dig this.

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!

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