this is difficult. so difficult to put in words. the sheer joy of such a find. the awe. the urge to stand up while listening. the goosebumps. the jaw drop.
completely random, totally oblivious to what is to come, i came across ultha’s second full-length “converging sins” on my playlist among a series of rather boring releases of late. i would be content enough with an average album but this is monumental. just as we lost greg lake while accumulating all the sad losses of 2016, i was too quick to praise the year’s perfect black metal score as this release came out just as the year was about to close (still not on sale for another week).
ultha are german. of course they are. the five piece scores perfect on sound, atmosphere and performance. but their main strength, in my opinion, lies in their success in integrating the melancholy and theatricality in their music. i somehow get irritated by in-your-face, cheesy, ooey gooey melancholy (or a blatant lean to a particular theme) of some bands, i’d rather not give names. in this case however, there is such a delicious melancholy, the death of a loved one or of love itself, almost in physical form that i can reach out my hand and touch it. yet no cheap tricks, no gimmicks, just plain earnest and graceful sorrow created by the whole experience. also, it is theatrical while not being too dimmu borgir.
the experience takes a little over an hour (still not enough) and the body of work is 3 epic songs around the 15 minute mark. the opener and the last two make use of all the time needed to develop, bleed, reach crescendos and finish off in style. just too many high points to mention actually, but the repetitive orchestral theme of the last song is so gosh darn haunting. we are treated by a mellow female guest session singing coupled by harsh black metal in a tortured second track and a rather short interlude in the third doom song.
and the sound. oh the sound. such a thick, bassy, meaty guitar tone of mostly repetitive strong riffing, topped up with occasional tremolo, arpeggio and leads for the ultimate effect. also, the choice is such a refreshing return to old in a time most black metal bands opt to thin out their guitar tones. this wall is further accentuated by the thick and raw drum sound and much variation; loads of blast beats, double bass drums, war drums and neat slow tempo drumming of superior german engineering. most of the memorable moments are carried thanks to synth chords that fit so beautifully and never overexpose. the dominant black metal singing might take some time. the constant wail of mourning, after an adaptation period just adds to the overall melancholy. we also have a second, more guttural singing and rare chants. lyrical themes are fitting the theme, maybe not literally amazing, but imaginative and thanks for providing them anyways. yes blut aus nord. this is about you.
music is a personal thing. converging sins is a landmark for me. this is my calling. black metal is glorious.