NIGHTBRINGER/DØDSENGEL “Circumambulations Of The Solar Inferno”

Release Date: April, 2013

Label: Daemon Worship Productions

The two sides of the Atlantic dangerously approach each other once again. This time, each one of them provides soil for two of the Great Watchtowers, which will host the demonic forces of Americans NIGHTBRINGER and Norwegians DØDSENGEL. With their twisted lead harmonies (that made “Hierophany…” such a unique point of reference) as their basis, Naas Alcameth and his companions initially dive into psychedelic rivers and next they wrap their tentacles around the listener’s face with a constant drum attack and endless guitar harshness. The serpentine, chameleon-like vocals spread words of plague but are only the tip of an iceberg concealing many answers and even more questions. Although the “Gate Of The Mighty Dead” is the track that impresses at first, with some NEGATIVE PLANE references and its forwards-backwards riffing, it’s the “Ascension Of The Midnight Sun” with its cyclical temper and an underlying supernatural substance, that comes to set into the minds of those with the appropriate sockets to encapsulate it.

Such an emphatic first side of a split could prove and insurmountable obstacle for almost any band to follow; but not for the likes of Kark and Malach Adonai, two individuals that are known not to avoid challenges (who would expect a double full-length release in an era of instant consumption?). With persistent, marching tempos, a pint of heavy-metal approach (although less reduced in comparison to “Imperator”) and an anthemic mood, they strike right towards the unsuspecting listener’s subconsciousness. The pompous “Horus Sunflesh” drifts into its obsessive, ritualistic structures and “Drunk Upon Inmost Fire” builds otherworldly atmospheres and forges strong spirits, as from the mid-point and onwards we probably hear some of blackmetal’s most epic tunes in recent years. If it’s about such marvelous releases like “Circumambulations Of The Solar Inferno” or the one with ANDRAMELECH & SERPENT NOIR, then, guys keep doing splits…

ANDRAMELECH/SERPENT NOIR “Gateway To The Nightside”

Release Date: April, 2013

Label: Daemon Worship Productions

The legion of Daemon Worship’s releases prospers and grows rapidly. In the latest of their attacks, we observe a convergence of the two sides of the Atlantic, where ANDRAMELECH join forces with the draconian powers of SERPENT NOIR in order to unleash the sonic vibes for the opening of the nocturnal gates.

And so it begins, the “Gateway To The Nightside”, where the Mexicans’ side finds them having stepped significantly forward from the rawer style of “Destroyers Of The Cosmic Order” EP, embedding an orthodox (mainly Swedish influenced) approach to their compositions as well as a solid heavy metal infrastructure in certain parts. The 9-minute “Voiceless Verb Of Vovin” is the highlight here, with the alternations from mid-tempo pieces to blasting outbursts and from darkling passages to clean soloing (I have to admit that the solo around 2:40 reminded me how obscurely genius were NEVERMORE back in the 90s). If only they had broader vocals instead of the somewhat blatant ones they use, we could talk about a truly special creation.

Athenians SERPENT NOIR, on the other hand, have already demonstrated their distinct personality as a band, even from the “Sanguis XI” debut EP. Even so, none could expect the shock created by the consecutive listening sessions of last year’s full-length “Seeing Through The Shadow Consciousness (Open Up The Shells)”, each one of whom would reveal yet another hidden treasure behind the perfect sequence of notes. So they continue their quest from that point, providing us with a new chapter (in the form of intro-main track-outro) that aims to wake the spirit from the sleep of material reality.

The Black Serpent’s blackmetal is a unique one; for it has discarded every complex that characterizes this sub-genre. It doesn’t have to sound intentionally “ugly”; on the contrary its crystal clear riffs (from Yannis, the main composer) constitute a magisterial guide to a new path. They advise, they march forward, they settle down to gather mental strength and they march again until they disappear in the horizon, leaving those that followed to the end to find now their own way. The drums and percussion (from Mika Belfagor –OFERMOD) do not demand our attention through endless blasting but they create such vortexes that one is impossible to ignore. The vocals and chants (from Kostas K. –EMBRACE OF THORNS- with additional help from Yannis) do not belong to some “ghoul” from next door; they are pure projection of the Beast within us!

In the end, this blackmetal sounds unique because it meanders (from demonic gallops to atmospheric mantras and from there to a rhythmic trance –as in the second part of “Shadow As A Portal”), as every true serpent should do. But above all, SERPENT NOIR stand proudly distinguished among a galore of things to listen to, because they bring back into music the essence of a Higher Purpose. Indeed, for those not afraid to leave behind (partly or as a whole) the spiritual regression of modern societies and reach for this Purpose, the soundtrack to their journey is here, waiting for them.

RISE OF MALICE “Demo 2011”

Release Date: January, 2012

Label: War Productions (tape)

Continuing relentlessly with –relatively- new addition to Hellenic blackmetal scene, this time we will travel northwards and pay some attention to Veroian-Salonicans RISE OF MALICE, who about a year ago released their second demo effort. Being one of the few indigenous bands that look clearly towards the Norwegian early 90s, the challenge here would be to achieve in capturing a piece of that time-and-space aura without sounding plastic of cheap copiers.

The good thing is that the challenge seems to be won, since the minimal riffs guide the tracks on the frozen rails set up some time from DARKTHRONE, IMMORTAL (whose “Withstand The Fall Of Time” is covered here) and GORGOROTH. Thankfully, the band does not fall in the trap of sounding intentionally “bad”, leaving the music to be heard as it should be. Welcome are, also, certain BURZUM parts (coming from Varg’s earliest era) that are amplified by the something-between-whisper-and-Golum vocals, which I have to admit I enjoyed to the maximum as I have been so bored of the much-worn nowadays “screams” in blackmetal.

To make things short, here we have a demo as one should be; that is, defining the general directions of a band and prepare us for a possible upcoming full-length. Unfortunately, some line-up turmoil seems to have put the band on hiatus and the future remains uncertain. However, should you come across this material, don’t hesitate to give it a try.

GOATLUST SUPREMACY FESTIVAL, Vol. I

Date: February 2, 2013

Location: 7Sins Club, Athens – Greece

Entering February, the first blackmetal event of the year would be a fact and, upon arrival shortly before the start, the turnout could stand as satisfying. It was for NIPENTHIS to open this evening, and in the third time I would watch them upon stage, their traditional blackmetal approach remained dynamic and with the right feeling. Yet, to be honest, I would expect stronger bonds between them in comparison to one year ago (Occult Black Metal Ritual @ Second Skin), while I also have the impression they are trying to use as many good riffs as they believe, inside one single track, which sometimes messes with the music’s consistency. In any case we are waiting for their new material for a more thorough opinion.

Their substitutes on the 7Sins Club stage, IMPURE WORSHIP –the duet of Fallen Angel Of Fornication and Black Priest Of Impurity, with the addition of a session bassist would perform for the first time. Those few regular visitors of the Anti-Flesh Nimbus webspace might remember the splendid comments that accompanied the band’s self-titled 7’’ released back in April, 2012. Here we have primeval death metal painted with the colours of the blackest aesthetics in the veins of ancient BEHERIT, ARCHGOAT as well as the unholy cult that settles on the other side of the Atlantic (CONQUEROR, BLACK WITCHERY). Their tracks were executed impressively strong and accurate, with a muddy yet comprehensive sound and outstanding bonds –obviously an outcome of many rehearsal hours. Their setlist included almost all of their already known songs together with new ones, as well as great covers of PROFANATICA’s “Weeping In Heaven” (with Archfiend DevilPig on vocals) and “Ψυχιατρεία” (“Madhouses”) of greek hardcore/punk legends ANTIDRASI.

It was time now for Secta Nova to get some action, with DEVATHORN unleashing some demonic arrows towards unsuspecting souls. Their poisonous blackmetal, stepping onto the footsteps of FUNERAL MIST (mostly as a suffocating feeling), was executed in a way precise and cold, almost clinical one could say; the way a music undressed from paltry and degenerate “human” emotions owes to sound like. I, hereby, dare to state (call it an intuition) that their upcoming album will constitute a new landmark of this new scene that seems to take form in our territory (ACHERONTAS, SERPENT NOIR, ACRIMONIOUS and more…). The closing of their set with “The Venomous Advent”, having Acherontas Vp on vocals was simply magnificent. After a while ENSHADOWED emerged on stage and it was more than obvious how seriously they take the callings of our era. A decade after the -personally speaking- numb “Intensity” album and some worthwhile split efforts, they decide with their new ambitious opus “Magic Chaos Psychedelia” to open new gates, using as maps what THORNS, VED BUENS ENDE and generally all this avant-garde, 90s Norwegian scene gifted to mankind. In its live version, their music was interpreted with devotion and respect, yet I think that the magical element which would lift them of the ground was somehow missing –at least in my eyes and ears.

As for headliners EMBRACE OF THORNS, everything I have to say probably has been said by me again in the past, yet it’s almost scary the fact that every single time I watch them, they manage to elevate their soundscapes up to new, higher levels. That night was their first with Fallen Angel Of Fornication (see IMPURE WORSHIP above) as second guitarist, but the Magick was still there. They began with the self-titled track from the tremendous “Praying For Absolution” record, whose storming end constitutes one of contemporary death metal’s top moments, and they continued in a “forwards-backwards” trip along their discography, leading those of us left in the club into a time-and-space vortex where chains that limit human spirit were crushed. Unfortunately, severe problems with the sound of monitors on stage forced them to end their ceremony earlier than expected. Even so, they demonstrated yet again that death metal still can and is obliged to remain dark, esoteric and a relentless enemy of modern man’s absolute nothingness.

Hail Destruction of rotten ideals

Hail Destruction of rotten flesh…

FAUSTCOVEN “Hellfire And Funeral Bells”

Release Date: April, 2012

Label: Nuclear War Now!

I first became aware of Norwegians FAUSTCOVEN presence, at NWN! Fest back in 2010 and I remember being strongly impressed by their mix of british doom/death of the early 90s and monolithic, primeval blackmetal of HELLHAMMER and (less) BATHORY legacy.

Although I kept them at the back of my mind, it took more than two years to return to them –and what a great meeting this was! “Hellfire And Funeral Bells” that was released back April of 2012, is full of these eschatological (that is… DOOM!) guitar riffs that look upon the world’s demise and made BLACK SABBATH eternal totems of distorted music. This atmosphere is suitably enhanced by the terror exhaled from HELLHAMMER (and early CELTIC FROST), whose minimalistic approach is present here and undresses the songs from unnecessary additions; listen for example to the short but to-the point solos in the opening track, which function perfectly as quick breaths before the upcoming attacks.

Walking in parallel roads with their compatriot Woe J. Reaper (FURZE), yet less abstract and more narrative, FAUSTCOVEN enclose almost every positive aspect of a duet-band. They keep their music admirably consistent by building the record’s six songs around a massive mid-tempo structure (although at point changing paces as in the creeping “Lost In The Forest Of Suicide”), while lyrically inspired by the various versions of horror cinema. The extra credit should be given to the absolutely fitting production that provides the music with an all natural sound in every instrument, far away from known “technology tricks” and similar bullshit.

As the ten-minute opus “Choir Of Mentors” fades out through the speakers, there arises realization these 40 minutes come straight from the late 80s and an always welcome intuition that metal spirit continues to live in some of the contemporary releases, emerges. It just has to be done like in this record, meaningful, visionary and without being cheap as in countless retro copies that have fallen as flies upon shit on the trend of “old-school sound”. Way to go Norway, you will always keep something special for us…

DODSFERD/NADIWRATH “Misanthropic Bonds”

Release Date: October, 2012

Label: Misanthropic Art Productions

In the wake of their relatively recent split releases, the dual force of DODSFERD and NADIWRATH returns with yet another split, this time containing the demos of the two bands plus some extra recordings.

On the DODSFERD side, we have “Kruzifixxion Of Human Disgust”, a demo drained in raw, negative power with a monolithic approach to blackmetal. Despite the premature age of the members (Wrath was assisted at the time by Saevus from DEVATHORN and –lately- ACHERONTAS), it’s exactly this fermentation of the genre’s archetypical elements that provides these recordings with the aura of authenticity; the finest example being the addictive monotony of “Staring At The Forthcoming Chaos”. On the top of it all, we get last years re-recording of “Dodsferd” in a fully misanthropic punk version, as well as a very well fitting cover of GG ALLIN’s “Bite It You Scum”.

On the NADIWRATH side, they re-offer their self-titled demo to us, a release that has its own significant impact in the underground scene about five years ago. Its three tracks (which were later also re-recorded and included in the astonishing “Nihilistic Stench” debut), here are obviously rougher, more maddening and suicidal. Additionally, the new/unreleased “Third Eye Wound” proudly stands as yet another offering to the altar where blackmetal darkness and spontaneous punk rage are boiling together. As for the “Succubus Of All Vices” cover, it comes –fully adjusted to the band’s personal style- to remind us that DEATHSPELL OMEGA existed before “Si Monvmentvm…” too.

PS. This writing cannot close without special reference to Maxime Taccardi’s magnificent cover art.

MORBID FOG “Αρχέγονο Σκότος” (“Archaegono Skotos”)

Release Date: October, 2012

Label: Grim Reaper (tape)/Azermedoth (CD)

The Hellenic scene is steaming once again. Everyday darkness produces constant need of externalizing thoughts and emotions as well as nostalgia for an undefined past where wellbeing prevailed over simple survival. MORBID FOG come from the greek countryside (Thessaly) to add their own stones on the altar of heart-pounding, ancient-praising, KAWIR school blackmetal.

In an effort worthy of all our respect, Astraeos handles every instrument as well as overall production here and the final outcome should make him proud. High-pitched riffing in (mostly) mid-tempo paces some times gives the signal for attack and other times beckons for retreat (but never surrender!). With the drums (which I don’t know if they’re programmed or not, but they sound just fine in any case) holding the listener in vigilance and NECROMANTIA-style recitations adding their own depth to the tracks, “Archaegono Skotos” (= “Primordial Darkness”) is here to light a fire and gather round all those who have always searched in Hellenic blackmetal a strong (but not cheap) dose of heavy metal essence.

Wise in number of tracks (six plus the intro) and length (40 minutes), this record around its mid-point (“Pagan Ritual Beneath The Fullmoon Light”, first part of “A Deathtrip To The Land Of Darkness”) also exhales odours of the north (Norway to be more specific), as guitars come in more aggressive tones and the atmosphere becomes hazardous and vile before returning back in the initial more ritual aspirations.

The truth is that the sound does some injustice to the compositions and with a better production the outcome might be even more thrilling. But to search for such drawbacks in the works of a man, who, instead of aimlessly wasting his time, devotes effort, time and income to express his inner thoughts among such adverse situations, well it’s kind of pointless, don’t you think?

 

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