Category: Current listening

No Stars, Only Full Dark: a self-assured release of black metal fusion

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Windbruch, No Stars, Only Full Dark, Canada, Hypnotic Dirge Records, CD HDR-037 (2014)

On first hearing this album, the second by Russian one-man band Windbruch, hailing from Nizhnevartovsk in the Khanty-Mansi region in western Siberia, I get an impression of  raw and sometimes angry music, ragged and sharp in tone with a full bass backing, shaped into actual songs edged with delicate ambient sounds and tones that add touches of ice coldness.

Lone Windbruch member Iluzii Optice brings skill and imagination to craft an album of self-contained and clearly defined songs that feature as much cold space-ambient synth, field recordings of nature and what might be termed “soundtrack music” as they do raw suicidal black metal. The path “No Stars …” takes might not sound different for the most part from what other one-man or two-men BM projects have done but it’s perhaps ideal at this early stage in his career for IO to get the balance between a more commercial style of BM rock pop and his more abstract experimental tendencies right, and to gain the support of a loyal fan-base, before he starts stretching the formula to his own ends.

The album begins strongly with “No More Entry, No More Exit” (taken together, the track titles suggest an arc of being enticed by the city, ending up being trapped there, reaching one’s nadir and experiencing a crisis) which is actually the second track, the first being an extended introduction. The music is robust and hard-hitting; as the album progresses, more ambience, especially at the start and end of each track, and melodic keyboard are brought in, and the album becomes more post-BM in style. Vocals, where they appear, are upfront in the music and are deep and gravelly, almost death-metal in style. The tension builds up through each track and flows into the next; ambient passages relieve some but not all of the tension so the suspense and momentum are still present.

Later tracks like “A City on Fire” and “Only Full Dark” are ponderous and include cold, forlorn space-ambient melodies and spoken-voice recordings. There is a definite urban-blues / post-rock feel which might seem surprising for a Russian BM band, especially one so far away from Europe and North America. The latter track throws away actual music and becomes entirely experimental in most of its second half; its reliance on near-inaudible drone rumble beneath a Russian-language radio monologue is daring. “Neswa-Pawuk” has a dreamy shoegazer atmosphere, a bit like a harder version of Alcest. From this moment on, the album has a sunnier and more positive outlook even if its central protagonist is still stuck in a grim urban environment.

The album is very self-assured and demonstrates confidence in its combination of BM / ambient / post-rock. Most songs are well-defined with some allowance for experimentation. There is something to please most people here.

Contact: Hypnotic Dirge Records

Amulet: the deep and the commonplace in mystery ceremony revealed by iPhone recordings

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Oren Ambarchi, Amulet, The Tapeworm, cassette TTW 65 (2014)

Korean director Chanwook Park made a short movie not long ago using a cameraphone so it was only a matter of time before a musician made an album with an iPhone. The surprise is that of all people I can think of who might do it first, Oren Ambarchi should have been the one. (Though he may have been preceded by others and I just haven’t noticed.) This is a really intriguing effort from Ambarchi: it’s an ambient soundscape, sometimes industrial-sounding, that includes what field recordings, whirring cymbals and other percussion or intrusive background noises that he opted to leave in.

In spite of its fairly short length, the recording seems expansive and blackly cavernous. We start with sharp metallic drone and buzz rolling across a huge flat plain in pitch-dark atmosphere on Side A. A rhythm of sorts is established with a loop of mechanical dolly clicks and there are other little noise effects that tinkle and thrum. The work or parts thereof must have been done live as indicated by audience applause somewhere in the middle of Side A of the cassette.

On Side B, the fragments of delicate metallic bell, gong and chime along with a quiet background and the static nature of the music, suggestive of a soundscape snapshot, give the impression of an ongoing mysterious ritual. You end up concentrating so closely that your mind becomes completely entranced and for a brief while you become part of the scene. Whichever side is played, and depending perhaps on the frame of mind you’re in, whether you’re tired and need soothing or you are just curious, the atmosphere can be quite intense and your anticipation of what might come with the drones keeps you hooked. A motor stutter vibration helps to concentrate your mind as well.

Anyone who is familiar with Ambarchi’s activities and the musical company he’s been keeping over the years might see the two sides of the cassette as representing the polar opposites his music has often straddled - Side A is very black and sinister, and Side B is tranquil – and the cassette and vinyl 7″ formats certainly lend themselves to such an interpretation more so than if the music had been released as a mini-CD. So I’d caution TSP readers not to allow a little knowledge about Ambarchi’s history and the choice of music format to influence their listening experience too much.

I don’t know how familiar Ambarchi is with recording music on his iPhone, if this is something very novel for him and if he will continue recording in this way on occasion, so I’m prepared to give him some leeway with the loose free-form structure of the music. The editing in parts can be crude – that audience applause cuts out very sharply – and any beginnings and endings are determined by the cassette format and the length of the tape. Had the musician and the label thought of the idea at the time, this music might suit a Moebius-trip cassette format, to be played continuously according to the whim of the listener.

Savage Pencil provides the odd(eye)ball cover artwork which plays up the voyeuristic role that the listener is forced into, in listening to this music that might serve as accompaniment to a secret ritual or ceremony. Whether the ceremony is a long drawn-out process involving animal sacrifices or just one’s bed-time routine being read to by a preschooler eager to show off by making up stories about a moon-worshipping rabbit family s/he sees in the picture-book, “Amulet” will be an ideal mystery backdrop. There’s something of the profound and the commonplace in these recordings.

Contact: The Tapeworm 

Polarlicht: giving us soothing low-key ambient electronic soundscapes

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Monolyth & Cobalt, Polarlicht, Time Released Sound, CD TRS041 (2014)

In spite of its name which translates from German into English as “Polar Light” and the artwork of cracking ice viewed from above, this recording is not really much of a cold and forbidding Ice Age ambient soundscape opus to be filed in among other Arctically or Antarctically inspired works; it turns out to be a slow, relaxing and gently immersive journey through glitch electronica worlds sculpted by one Mathias Van Eecloo, the man behind Monolyth & Cobalt. The recording was made in Brittany over a period of some 18 months from April 2012 to October 2013.

There may be allusions to maritime exploration on the album and the fact that the work was recorded in Brittany – an area with connections to the sea – might have some significance. “Blooming Stones” sets the tone releasing this listener to drift on gentle grey seas with rhythmic bell chimes and something of a slow undulating sea-shanty melody.  The tracks conjure up quiet landscapes of muted grey or light sandy colours where the sea raises barely more than a murmur of white wave froth and washes blue-grey up pale beaches. Even the skies are a restful pale blue colour. Not much happens and we are whisked from one track to the next to inspect new low-key soundscapes.

Track 4 promises to be a bit more interesting than previous pieces with a mechanical rhythm loop and some off-kilter noises suggesting all’s not quite calm and serene, and any moment we may run across some rusted toys or machines still able to play a melody after years of disuse and deterioration. Following after is a track where instruments seem to be more recognisable yet still unidentifiable – there could be a banjo in the music – and a sighing siren vocal is present as well. As the album progresses, the music broadens to include acoustic guitar, harmonica (or something very like it), violin and field recordings or found monologue in tracks like “Et Ces Arbres” and “Verhaal”.

The most interesting track on the whole album turns out to be “Birds (Are Some Holes in the Sky Through a Man can Pass)” which features some beautifully resonant string instruments, one of them possibly a harp or a zither, delicately trilling against a seesaw rhythm.

True, the general tone of the album rarely rises above mildly stimulating and the criticism could be made that the whole recording is just too mild and placid to hold most people’s attention. Sooner or later, someone will start wishing for something pacey and exciting, like a great white shark lurking in the unassuming grey sea. Folks with short attention spans will drift away leaving a few willing to follow Van Eecloo and to let him take his own time describing the vistas before them.

It doesn’t really matter that I fail to see the polar connection this music makes: it’s very soothing, low-key and minimal, and there are some interesting acoustic surprises in later tracks that add individuality and a distinct folksy flavour.

Contact: Time Released Sound

Thought of Two: a successful launch of dark minimalist techno on a long journey

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Black Hat, Thought of Two, Hausu Mountain, CD HAUSMO13 (2014)

I believe this is the first full-length recording from Black Hat, a dark electronica project by Seattle resident Nelson Bean. Seattle is famous in the music world for many, many reasons but so far minimalist darkened techno with a bit of psychedelia and industrial influence hasn’t been one of them. One day that may all change and Bean is to be commended for bringing that happy day closer. “Thought of Two” is a short effort with just three tracks but these are long ones with the third clocking close to 20 minutes.

“Imaginary Friends” sounds innocuous enough until you start spinning the disc and long groaning tones crawl out of the speakers and drift through the air with echo dragging behind and sinister feathery whisper percussion shifting and shuffling along. The track transforms constantly with drone, skittery effects, a hollow metal rattle and eerie high-pitched metal whine together giving the impression of a black claustrophobic worm-hole tunnel unravelling itself as we explore deeper inside. It’s at once creepy and ominous yet some of the rhythms offer reassurance and comfort on our journey. There are no big shocks or surprises and that in itself can be heartening for listeners.

“Portrait in Fluorescent Light” is an amorphous entity of shifting metallic wash and shimmer. This is a highly hypnotic and cosmic piece with a lush beauty and radiance. However Bean saves the best for “Memory Triptych”, a tapestry of very warm shining rhythm loops, muted industrial scrapings, dreamy drone and lots more besides, all bathed in a soft radiant ambience. This is a very dreamy trancey track, reminiscent sometimes of old Vladislav Delay recordings in their seductive quality though those VD releases had a much cleaner sound and were more emotionally neutral. Flotsam and jetsam from various musical genres seem to drift in and out – at one point, we seem to have a repeating jazz horn, calling perhaps for a lost brass instrument companion, intruding apologetically on proceedings – making the track difficult to describe: it encompasses ambient trance, industrial, techno, cosmic space and musique concrete among other genres but reaches far beyond any of them. Near the end, the track adopts a contemplative mood as if brooding on its telos and what it might mean.

It’s a bewitching recording, smooth and beguiling, at times a bit melancholy and wistful. In spite of the tracks’ formless nature, the music can be very accessible and almost poppy in orientation. The sounds are very absorbing and for once I don’t mind that they can be repetitive and monotonous in parts as the soundscapes never stop evolving. For a recording lasting no longer than 35 minutes, this album really does take its listeners on very long expansive journeys.

Contact: Hausu Mountain

Lake of Solace: black metal and rock meet Chinese pop culture influences

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Deep Mountains, Lake of Solace, Pest Productions, Digipak CD PEST046 (2014)

Deep Mountains is a Chinese black metal band and “Lake of Solace” is the musicians’ first full-length release (after an EP released in 2010). The band’s existence and the presence of other Chinese black metal bands in a small scene are testament to the spread of the music across the world since its emergence in Norway 30 years ago: in spite of being ignored or avoided by the commercial music industry, black metal can truly stake a claim to being an international music phenomenon.

The music mixes elements of epic melodic post-BM and what might have been called blues and hard rock in decades past. It’s almost as if Deep Mountains are compressing the history of rock and metal, stretching right back to the 1960s almost, into one package for the benefit of their audience. Black metal is just one of several influences that add flavour to the overall mix: it adds toughness and a sharp steely edge to the music and the raspy BM vocal brings harshness and aggression. The songs tend to flow into one another with barely audible breaks. An early track, “Wind and Stellar”, combines typical BM tremolo noise guitar and spidery BM voice with passages of lilting melancholy acoustic guitar music, desert-desolate lead guitar solo yodel and clean-voiced singing with some Chinese melody structures.

The guys do not forget that they are playing to an audience eager for foreign Western cultural fads: “Detachment” includes English-language spoken-word recordings about rebelling against being dumbed down and maintaining personal integrity and honour, and the music features pop-friendly riffing and melodies and some very pretty moments of introspective ambient post-BM guitar tremolo tremble. To Western ears, having to concentrate on the music rather than the lyrics (I can’t read Chinese), the song can seem very ordinary, almost as if a couple of musicians were sleep-walking through their parts.

The second half of the album, consisting of four songs, seems to be a unit in itself. “Lake of Solace (Part 1)” is a meandering, mostly acoustic-guitar instrumental with birdsong and other nature-themed field recordings: very pretty and pleasant to hear but at over 7 minutes in length, it’s too long and needs pruning here and there as there’s not a lot done in 7 minutes that couldn’t be squinched into 3 or 4 minutes. The second part is more bearable as it includes BM vocals and guitar-work but again there are long sections where the music seems to lose focus and dog-paddles aimlessly, and near the end the song descends into sappy syrupy music territory. “The Ballad of Nai River” seems to be an adaptation of a traditional Chinese song as the female vocal follows a Chinese melody and the only contemporary aspect is the acoustic guitar backing and the field recording of water drops.

For me the album doesn’t have much BM teeth and the band’s style is now better described as a rock and blues mix with some BM influence. The latter part of the recording emphasises more melodic and clear-toned music. While the album isn’t bad, it could certainly be improved with some editing for length on most songs. In the later sections of the recording, a bland quality is creeping in. I earnestly hope this isn’t a sign of DM bowing to pressure to satisfy the faddish demands of their home audiences.

Contact: Pest Productions

Heen Yadhar Al Ghasq: a surreal journey through black metal / Middle Eastern music fusion

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Al Namrood, Heen Yadhar Al Ghasq, Shaytan Productions, Qayamat-009 (CD) / Qayamat-010 (vinyl) (2014)

You’d think living in the heartland of fundamentalist Wahhabi Islam would deter most people from forming anything other than short-lived solo online bedroom black metal projects. Yet here’s a Saudi band that has already released several recordings including four albums. Al Namrood is the band’s name and the album under review, the trio’s fourth, came out early in 2014, demonstrating that this project is alive and certainly kicking!. And kicking – the percussion, that is – is what they do best!

The band’s style is a mix of crunchy melodic black metal, maybe some death metal / thrash influences and native Arab / Oriental musical styles and instrumentation. Generally the beats and rhythms are provided by Western instruments including a drum machine and those instruments that take the place of lead guitar tend to be native Arabian ones. Even the main melodies are of native Arab derivation and the band also employs chords and melodic or riff motifs with quarter-tones that lend a demented air to the general proceedings. Opening track “Estalahat al Harb” is a fine instrumental demonstration of this East-West fusion and its air of surreal, slightly chaotic confusion prepares listeners for what’s to come.

The sound isn’t as crisp as it could be to show off the richness of the sonic layers inherent in the music – I’d love to hear some of the jewelled tones of the oud and more of that resonant hand-drumming – but given the difficult conditions Al Namrood is performing under, the fact that this music even exists is a wonder so some technical imperfections in the recording are to be expected. What the musicians might lack in technical finesse, they more than compensate with energy, enthusiasm (maybe a little too much so: in some songs, the percussion is in danger of being punched right through), the most deliriously demented cartoon melodies and a choir of bloodcurdling guttural voices fighting for space in front of the mikes. The sense of humour these guys have is infectious and boisterous.

Some of the more memorable tracks include the brain-destroying, mind-melting “Youm Yakram al Jaban” and the flowing if more chaotic “Bat Al Thaar Nar Muheja”. “Um Al Qashaam” features the most thunderous beats and blast-beats along with almost laughably cartoony deranged quarter-tone melodies. Each succeeding song is crazier than the one before and I just wonder where and how the guys find the inspiration to think up the most bat-shit insane tunes and rhythms as each song wipes my brain clean of everything it thought it knew. I’m sure the musicians themselves can see the humour present in mashing together the most brutal metal rhythms and beats and Oriental tunes. For their part, Western listeners can experience something of the surrealism that folks in the Middle East have to live with, in societies at once ultra-modern and wealthy, yet still wrestling with an oppressive medieval political culture and the instability in nearby countries like Iraq and Syria.

As it progresses, the madness and the histrionics escalate further and the music threatens to drown under the sheer thunder and the almost-buffoonish melodies, rhythms and beats. Perhaps that chaos is part of what Al Namrood guys intend to say: that they live in an absurd world of unlikely pairings and polarities, and the only way to make sense of it all is to reflect some of that madness back at it.

The journey through the album is very exhausting and I’m not sure that I’d want to repeat it over and over. Maybe I’ll visit once or twice a year. I’d certainly recommend though that everyone who thinks they’re broad-minded about music, and music from the Middle East in particular, should listen to this album at least once.

Contact: Shaytan Productions

ION (self-titled): awe-inspiring and soaring post-black metal psychedelic transcendence

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ION, self-titled, independent release on CD (2014)

At the time of writing this review, I knew very little about ION apart from the fact that this trio is based in San Francisco and that this self-titled album is the band’s debut recording. The musicians’ days of being obscure may soon end if this album becomes better known. With each passing day, that happy state becomes all the more likely as “ION” is a soaring example of post-black metal psychedelic transcendence.

That the music is intended to be a totally immersive experience is apparent from the way the five tracks are linked together to form one over-arching work that encompasses many contradictions, dualities and polarities in musical structure, atmosphere and sound. Bursts of blast-beat aggression chaos give way to wide expanses of space interrupted only by squiggles of tone and echo background wash. Starkly sorrowful melodic riffs ebb and flow like waves upon a beach before dissolving into seas of buzzing guitar noise and frantic percussion. In short, the ION musicians range far and wide exploring their musical territory – and what a vast and varied territory that is, taking in wide plains of ambience, hills of frenzied tremolo guitar chord squiggle, chunky melody and rhythm mountain ranges and blast-beat torrents.

As the music progresses, the contrasts become ever greater: the loudest, angriest hyper-blasting black metal can calm and reduce right down to the softest acoustic-guitar twang, at times inaudible save only for reverb effects. Tones and effects may be suspended in a murky space, their connection to one another uncertain and occurring randomly, until with effort a melody may form as if from spontaneous generation from sound fragments. On occasions the music can be very pretty and shapely but this is not shoegazer post-BM: its ambitions are much grander and the path it must take tends towards high and low extremes in emotion and atmosphere.

Interstellar space ambience (“Embers”) proves to be no barrier to ION’s musical quest and aspirations; listeners may be confronted with the immense nature of the sonic universe looming in their heads and their own place within it. The music is at its most psychedelic, abstract, improvised and disorienting in later parts of the album where we are thrust into deep inner (or outer) space. As the space trip nears its destination, the guys exert themselves heroically to deliver an exhilarating and dramatic summation of all that’s gone before. The one thing that’s a little bit lacking here is a very thunderous percussion back-up as the drums at this point are a bit thin and tinny, and the guys have to rely on chunky guitar barrage and UFO lift-off and landing effects to make their way through the climax.

Fittingly for such an awe-inspiring musical landscape, there are no fewer than two lots of vocals, one typically BM-raspy and the other a deeper guttural death metal vocal. At this point in the band’s history, I am not sure what the lyrics of three tracks are intended to refer to and listeners are at liberty to interpret them as they wish: they hint at some dissolution of an individual’s material state to reveal that which is most essential about that person and whether s/he ascends to a higher plane of existence or something much lower, darker and baser.

The band that most often comes to mind for me when I hear this music is the UK-based Fen, especially in ION’s sound when the guys are at their most melodic and melancholy. Other bands that might be referenced as points of comparison include Altar of Plagues (their White Tomb phase), Wolves in the Throne Room for passion and drama, and other North American BM bands like Ash Borer, Fell Voices, Panopticon and Skagos who deliver strong BM with ambient elements and mystical, shamanistic themes or social messages. A non-BM band that springs to mind is Samsara Blues Experiment which engages in similar psychedelic space metal head trips but ION far out-strips that band for risk-taking. Fans of all these bands should listen to ION’s debut if they can get copies. At this time of writing, the album was self-released but Aquarius Records in San Francisco may still have some copies.

Contact: Aquarius Records, ION

The Other Three: noise indie-pop with more kinetic energy and promise than kinetosis

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Carsick Cars, The Other 3, Maybe Mars, EP CD-R (2014?)

“Carsick Cars” is one of those band names that just seem so obvious and cute that you wonder why no-one ever claimed usage of it over the past 50 or so years of rock and pop before a Chinese indie-pop / noise group came along and made the name its own in 2007. This bright-eyed and bushy-tailed little EP was released (I think) to coincide with CSC’s recent tour of the United States and to accompany a full-length album called “3″, which explains the EP’s title. The EP features five short tracks that may have been singles in the past or are alternate rejigs of songs from previous releases: the first song is performed in Mandarin Chinese but the rest are sung in precisely intoned English.

The band have a very poppy sound which is jangly and which sometimes incorporates a darker, more contemplative mood along with the bounciness. Listening to the EP right through, I’m sometimes reminded of the legendary American new wave act Devo who could be very serious and witty as well as eccentric and fun. While the opening track is definitely sugar and spice and all things nice, subsequent songs showcase what CSC are really capable of: catchy melodic pieces that combine melancholy brooding with an almost defiantly optimistic attitude that no matter how down in the dumps you fall, you’ll eventually get back into the light. “Shelter” is a thoughtful and lengthy song while “15 Minutes Older” is a rough-edged rocking little galloper with buzzy guitars, woozy drone and a dreamy jewel-like jangle ambience. “She Will Wait” tends to be more low-key and gentle than the preceding, and the mood is even more wistful and mesmerising. A psychedelic touch comes with the bewitching lead guitar soloing.

While the music is very good and there is plenty of energy and zest throughout, there is a certain flat quality in the singing and it may be that CSC are still finding their way in singing in English and conveying emotion at the same time. The lyrics seem to be rushed and have a bit of a robotic quality. Apart from this detail, CSC have found a niche in dark jangle noise pop that could take them further into shoegazer and depressive rock pop territory if they’re prepared to take risks with their music.

Contact: Maybe Mars,  Carsick Cars

Darkspace I: setting the controls aiming for the heart of the universe – and finding sheer dark space

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Darkspace, Darkspace I, Haunter of the Dark, CD001 (2003)

Finally I’ve been able to hear the first album in Darkspace’s trilogy of cold immersive space-ambient BM albums, mainly for the sake of completion. In comparison with the other Darkspace albums, this first set sticks closely to militaristic black metal, delivered a little too efficiently in the manner of machines inhabited and driven by an insane and malevolent spirit. That’s meant to be a compliment to the Darkspace trio of musicians themselves. All three recordings are inspired and powered by a vision of space and the cosmos as essentially indifferent, and maybe even hostile, to the existence of humanity; the message is that we are on our own and if we are to continue to exist, we must do so without help from external powers. A supreme God will not save us because such an entity does not and has never existed.

The beast is born in utter black cavernous emptiness amid shifting, groaning echoes, sighing whispers and cries of lost spirits. Suddenly the music jets off into the high atmosphere, all bristling noise and crunching jagged guitar battery riffs, eerie background synthesiser tones and a cacophony of gabbling demon voices caught up within the tight maelstrom. In the second track there is a sample of dialogue from the Stanley Kubrick film “2001: A Space Odyssey” in which the computer HAL is interviewed by the BBC and states that it looks forward to working with humans. As the track progresses, the music speeds up to a frenzied and extreme level, the screaming grows more demented, drums and cymbals are pounding away, and the synths sigh on as if in a frozen catatonic state.

The musicians concentrate in the main on building up an overwhelming, enveloping structure that sweeps up listeners and carries them aloft on an interstellar journey between their ears. You can’t help but be absorbed by it all. The evil and deranged atmosphere completely swamps you. Within the music, hideous beings converse and plot the course of the spaceship careening through the cosmos at multiple times the speed of light. One mistake, the ship lurches in another direction and the monsters scream and howl their lungs inside out and back gain. Lead guitar hollers away in a wormhole and drums bang on in a non-stop frenzy.

Admittedly the music is not varied and tends towards the obsessive and extreme in its single-minded focus. That’s the whole point of the recording: its very derangement and seeming lack of anything resembling human nature or anything organic mean that there is no concept of limitation where the music is concerned. Whatever direction is set for it, it continues relentlessly down that track. Everything takes place in a nihilistic universe; concepts of good and evil are neither here nor there. You’re not asked to love the music but you have to admire it anyway for its pure nature, steeped in what we would consider evil and malevolent.

It’s only in Track 1.6 that we get the first hints that the music might be slowing down just a little and a certain despair, a moment of bleak desolation, appears beneath the layers of compulsively grinding guitar texture. But these hints lead nowhere as the maelstrom moves with a force even it can’t control. On and on it goes, and even when the album appears to wind down and the music fades away, there’s still a sense of a never-ending journey into infinity and beyond.

Nevertheless whether this journey ever has an end or not, it is a journey worth taking for those brave enough to question the nature of the universe in which we live and who want to know more beyond what they’ve been taught to believe and found wanting.

Contact: Haunter of the Dark

Blaksmoke / Part 1: tiny packet of black metal energy

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Blaksmoke, Part 1, Soulthief (2013)

Sometimes I wish most BM bands would deliver albums as tiny and packed full of zest as this one. At just over seven minutes, Blaksmoke‘s debut full-length deserves to be at least twice or even three times as long. Some folks might even wish for longer – there’s so much energy on this teeny-weeny record, it could sustain a much longer effort – but we could be pushing our luck. This is a raw recording of rock-out black metal, very punk in its production and in the furious energy it zings out in all directions. The percussion is wild and all over the shop and chainsaw guitars grind away in search of a victim to zoom over and cut up.

Each track seems a lot angrier and more abrasive than the previous track until everyone, musicians and listeners alike, can take no more. This isn’t to demean the first track, simply called “I”, which is a cacophonic racket of bashing drums and lawnmower guitar on speed. Deep vocals roar around the joint as if trying to gain a foothold on the racing music and finding none. Occasionally a rhythm develops but this is only temporary. The second track is a growling song of spiky string scrabble and evil demon groans. Like the first song, Track 2 ends quite abruptly – recording and production finesse obviously isn’t a big priority with Blaksmoke. Given that one of the Blaksmoke guys, Wikkid, recorded the music, produced the album, distributes it and has two solo projects (Alcutraz and Wikkid) to tend to as well, perhaps we should thank our lucky stars that he has time to issue product of a good consistent standard like this recording. The third track is more relaxed (well, at first anyway) and more death metal in its ambience and style though without the pummelling blast-beat rhythms of that genre. Past the halfway point, something spooks the two musicians and they go off on a bonkers chaotic tangent, drumsticks whacking furiously, strings shredding manically and vocals swept up in the storm. Wonderful!

This is a tiny pocket of roaring primitive BM and I wish - I dearly wish! – that there’s a lot more of it where it came from.

Contact: Wikkid, wikkidblackmetal@gmail.com