tod huetet uebel – malícia (2015)

i have been neglecting my black metal exploration lately. i just couldn’t get into whatever i listen to. have i listened to them all? have i finished? please no. turns out i have been waiting for “tod huetet uebel”. portuguese black metal is obviously a thing, as shown by this duo.

now, we have a new aesthetic in black metal (i refrain from using the term post-black). the old riff & tremolo structure, where you could hear every single pick is largely gone in favour of a reverb-laden continuous buzz/ring layer, in parts with chords with little to no distortion. while individually inaudible, this creates amazing atmosphere and melody when successfully composed and executed. this unorthodox guitar style, dare i say perfected by the french giants, is increasingly adopted by newer black metal acts, including this one.

the cover strikes first. i feel i saw it before. wormlust – the feral wisdom? same stylised twirls and dark imagination? turns out i am right, the french artist valnoir painted both, and a shitload more, including antaeus, behemoth, blut aus nord, morbid angel, peste noire, taake, ulver… the visual aesthetic has also undergone transformation, the blurry black and white dark forest under a full moon theme gave way to this artistic, symmetrical illustrations of horror.

from the first moments, “malícia” pulls you in. in a stormy sea of chaos, confusion, madness and a constant stream of beats. the drums are so in-your-face loud and never let go, except the slower sections of madness. uncredited, and obviously programmed blast beats and double drumming does not, however, feel industrial. the guitars and bass create the main layer and are played by the main man daniel c. besides building the soundscape and melody, we have some striking riffs of equal imagination as the atmosphere created. especially the closing of the second track “i” gives you the heebeegeebeez. i am so glad i got to use that word. oh by the way, the now mandatory roman numerical song titles are completely disordered.

and the crown jewel of malícia, the singing (?). it seems this is the singer’s (marcos m.) first time handling the microphone, which is such a shame. his vocal range is beyond impressive, nailing death and black vocals and double-tracks but he completely kills it with his wailing-in-anguish-black-metal-operatic insane-ness. imagine the tortured screams of a horror movie killer. but this is the worst kind of horror movie killers. this one haunts you at your dreams and you never get to see his face. and when finally he confronts you, screaming like a madman that he is, cuts himself because he likes to torture you emotionally. and you hear the wailings. well you get the picture.

malícia, the band’s debut full-length, delivers what they set out to do. seven tracks of madness in the new aesthetics of black metal. black metal is glorious.

Reklamlar

ergholae somptator – morendo jusqu’à la fin (ep, 2016)

there are so many reasons to be happy in life. you have kittens, smell of earth after a brief summer rain, lazy sundays, and french black metal. of all the amazing stuff coming from france, ergholae somptator is the most recent one, which i would have missed if it wasn’t for the polite notification of the drummer/keyboardist/singer jérôme bouquet that made me feel kind of famous. léo louis-honoré handles guitars and vocals.

the duo’s second release “morendo jusqu’à la fin”, just under 20 minutes contains four songs individually travelling different realms of black metal. and you would expect an ep to showcase songs that variate (fun fact: limited to 66 cd’s and 66 cassettes). the short opener “rhizomes insidieux” is a thrash/black blast that abruptly drops tempo towards the end, making the blast beat filled “prisonnier des orbites” even more striking. this track, still in the thrash vein, serves some death and atmospheric black metal moments as well. the band keep exploring new ground as the third piece “un manteau en chauves-souris” delve into pagan & stoner/doom with a hypnotic main theme and light symphonic touches of keyboards and a sorrowful clean guitar interlude. and frankly, they are at their best in those moments of suspense and atmosphere. the horror show that closes the proceedings, “la mélodie de l’horloge” (hello ctrl+v my old friend) travel through different human emotions, with a morgul-esque, insane slow and heavy first part supported by piano and a theme that carries of throughout the song. that riff is also present in the opening of the first song, giving a nice loop effect. tempo picks up to a peak towards the end, only to drop again.

the bulk of the sound is thin and crispy guitars and raw drums. it feels like a live record and i’m digging the dirty low budget / garage sound that gives musicians room to express creativity. the dual vocals add to the chaos with a range from death metal to shrill. this is a tough job to tackle and an obvious example is another french powerhouse arkhon infaustus. i failed to notice any bass, not credited either, maybe except the fourth track. the ep satisfies the expectations from a french black metal release, a psychopathic atmosphere, unexpected shifts and changes of tempo, chaos and creativity. the duo also boldly steps over different genres and influences with ease. now all that is left is to wait for the full-length. again, merci france.

septuagint – negative void trinity (ep, 2014)

the greek school of black metal usually leans toward the theatrical / operatic side of things. and you have the emphasis on melody. what we have is a first taste of a good new greek black metal act. the sound is a warm welcome back to the roots, with fine distorted chord & tremolo, organic drums (with a raw snare) and roaring vocals with precious few clean singing. and structurally, it is anything but shocking, especially after the jaw dropping releases of the last few years from iceland. i should elaborate on that, septuagint take their time for melodies and passages to develop, with respect to conventional scales. tempo shifts, and quite often so, but the proceedings still are in the mental health zone.

the ep contains 5 tracks, all around the 5 minute mark. riffing, tremolo and furious blast beats carry the sizeable majority. and they are quite well executed. as you would expect from a successful band. sections where the tempo drops see more of a desperate and eerie atmosphere, but again, within the limits of sanity. also, delightful double bass work. i could go on about the drum tone.

the band do not break new ground of breathe fresh air to black metal. and they do not aim to do so. this is overall a solid black metal executed in a classical frame, filled with beautiful melodies and creative material, which develop, repeat and in times recur, instead of fillers. especially the theme of the closer lingers long after the ep ends. but it needs to be said, those beautiful melodies sometimes edge on the outer, calmer realms of black metal. at least the hopeless, “negative void” of the black metal feel we all know and love.