The North

Hi Ben, please can you add German black metallers Black Forest to the site?

September 2024

1. Pestilential Shadows - Devil's Hammer (from Devil's Hammer, 2024) [Submitted by Karl]

2. Spectral Wound - Aristocratic Suicidal Black Metal (from Songs of Blood and Mire, 2024)

3. Impaled Nazarene - I Al Purg Vompo: My Blessing (The Beginning Of The End) (from Tol Cormpt Norz Norz Norz…, 1993) [Submitted by Daniel]

4. Schammasch - They Have Found Their Master (from They Have Found Their Master, 2024)

5. Ljå - Til Satan (from Til avsky for livet, 2006) [Submitted by Karl]

6. Aetheria Conscientia - The Blossoming (from The Blossoming, 2024) [Submitted by Daniel]

7. Korgonthurus - Syyttäjäenkeli (from Kuolleestasyntynyt, 2020) [Submitted by Vinny]

8. Oranssi Pazuzu - Valotus (from Valotus, 2024)

9. Véhémence - L'étrange clairière (from Par le sang versé, 2019) [Submitted by Karl]

10. Mystifier - An Elizabethan Devil Worshipper's Prayer Book (from Göetia, 1993)

11. Havohej - Fucking of Sacred Assholes (from Dethrone the Son of God, 1993) [Submitted by Daniel]

12. In Aphelion - A Winter Moon's Gleam (from Reaperdawn, 2024)

13. Hulder - Hearken the End (from Verses in Oath, 2024) [Submitted by Vinny]

14. Wraithfyre - Ablaze in Abyssal Frosts (from Of Fell Peaks and Haunted Chasms, 2024)

15. Absu - Infinite & Profane Thrones (from Barathrum: V.I.T.R.I.O.L., 1993) [Submitted by Daniel]

16. Ymir - Silvery Howling (from Ymir, 2020) [Submitted by Vinny]

17. Paysage d'Hiver - Urgrund (from Urgrund, 2024)

18. Blut aus Nord - Elevation (from Memoria Vetusta II: Dialogue With The Stars, 2009) [Submitted by Daniel]

Korpiklaani - Spirit of the Forest (2003)

Now, I am not the biggest fan of most folk metal, but I don't have any particular ideoligical opposition to it, it is just that it is so badly done, so often and usually comes off as a bit goofy and corny. But, that said, even a notorious miserablist like myself occasionally needs to hear something uplifting and life-affirming and, when done well, folk metal can provide that for me, particular with it's jaunty naturistic celebrations and  it's use of folk instrumentation, of which I am a big fan. Korpiklaani seem like just one of a few of those bands who strike the right balance for me. I think it is because they take both the folk and metal aspects of their sound seriously and come off as sounding more authentic than a lot of bands within the genre, who often feel too gimmicky. So when I want to hear something with a bit more of a positive, celebratory atmosphere and feel that some good folk metal may do the trick, then I don't usually look far beyond Korpiklaani or Finntroll. Maybe it's something hiding in those finnish forests that influences those two band's take on a genre that can go horribly wrong and enables them to transcend the embarrassing corniness that too often accompanies it.

This was actually Korpiklaani's debut and is a strong one at that, especially for a genre to which I am largely indifferent and is one of only a handful of folk metal albums I can stomach. The songs are mostly shortish affairs and the album varies it's tempo a fair bit, so it never feels too "samey" and if a particular track doesn't strike your fancy then it isn't long before something else takes it's place. It's mostly a jaunty, jigging affair, that makes you think of summer nights under a starry sky, drinking and engaging in generally raucous merry-making around the leaping flames of a camp bonfire with good friends. I have spent quite a few nights in my younger days in just such a way and maybe it's success for me personally is in evoking nostalgic visions of good times.

3.5/5

A few new releases that I'll be checking out over the next month or so:

 Agrypnie - "erg" [Melodic black metal from Germany]

Winterfylleth - "The Imperious Horizon" [Atmospheric/melodic black metal from Manchester, England]

 Esoctrilihum - "Döth-Derniàlh" [Black metal from France]

1349 - "The Wolf & The King" [Black metal from Oslo, Norway]

Here's my review:

I wasn't surprised in the slightest to find Ben nominating the sole album from Moscow-based atmospheric black metallers Walknut for feature release status this month as he's been raving about it for a good fifteen years now. In fact, it was one of a whole bunch of releases that he recommended to me to explore upon my return to metal in 2009 so I've been well across it for a long time now & have given it a number of return visits over that period. As with most siblings, my tendency is always to want to slam something that Ben adores as my first point of call so I probably went into my first listen to "Graveforests & Their Shadows" with a level of defensiveness & subsequently found myself taking little away from the experience which allowed my to give Ben the smug feedback I'd always intended on giving (i.e. "I dunno what you see in this bro. You can't even hear the riffs!") but time & repeat listens have seen me gaining a strong affection for this Russian artist, if not to the same stratospheric levels as Ben or Sonny.

Walknut is the solo project of Anton Svyagir who goes by the pseudonym of StringsSkald. He's fairly well known in the underground for his work with other Russian black metal acts like Forest, Nitberg & Темнозорь who you may be aware of but "Graveforests & Their Shadows" is by far his most celebrated work. This sole album sees him collaborating with Темнозорь lyricist & Stellar Winter Records owner Gorruth (known as Ravnaskrik for this project) who provides him with well-articulated stories of icy landscapes & tortured souls with which to layer over his lo-fi black metal instrumentation. I've often been critical of the use of the atmospheric black metal subgenre tag in recent years as it seems to have lost a lot of its meaning with people failing to understand its original intent & attempting to chuck it over far too many conventional black metal releases for my liking. But the tag fits the Walknut sound like a tailored glove as "Graveforests & Their Shadows" is far more about texture & subtlety than it is blasphemy & brutality & it does a great job at creating a fantasy world in which the listener can almost see, touch & feel the scenes being portrayed in Ravnaskrik's lyrics.

The lo-fi production job employed is nothing unusual for the atmospheric black metal subgenre but it's certainly well done on this occasion. I still maintain that the guitar riffs are quite difficult to pick out of the mix when taken in isolation as they're used more for texture than they are for melodic direction. It's the keyboards that are layered over the top that are tasked with giving the guitars their melodic context & this technique works quite well, contributing to the album's unique character. The tempos are generally fairly restrained with minimal use of blast-beats & three of the six tracks exceed the ten-minute mark which isn't all that uncommon for releases of this type. Stringsskald's tortured screams are another highlight as he sounds genuinely inhuman a lot of the time which only adds to the frostbitten atmosphere. Unlike a lot of European black metal though, Walknut's fuzzy musical tapestries feel somehow comfortable & you don't get the feeling that the intent was to suffocate or intimidate the listener. There's a warmth to be found in all of the frost if you know what I mean & I feel that this element is what makes the Walknut album stand out from the wealth of similar releases on the market.

The tracklisting kicks off with a well-executed one-minute ambient piece called "Hrimfaxi" that I really enjoy before taking off into the proper black metal material. Of the five metal songs, there are a few that stand out as highlights but all are worth listening to. The more expansive pieces like "Come, Dreadful Ygg" & "Grim Woods" are excellent examples of their type but I think it's the more upfront & aggressive four-minute instrumental closer "Skinfaxi" that appeals to me the most which is perhaps not all that surprising. Opener "Motherland Ostenvegr" is probably the most popular track but I rank it slightly below these other three along with the ridiculously titled "The Midnightforest of the Runes". It's a very consistent album overall though with the entire 43-minute runtime being worth exploring.

I've said a lot of positive things about "Graveforests & Their Shadows" so far, haven't I? And four-stars is more than respectable rating. But why don't I regard Walknut's lone album as highly as some of our other members by placing it up on a pedestal with the absolute cream of the black metal crop then? I think it's to do with some of the melodic ideas portrayed in the instrumentation to be honest. As well-executed as this material is, I often find that the motifs don't quite fully connect with me in the same way as peers like Paysage d'Hiver or Burzum do when they're at their best & it's important to me that I save my elite ratings for releases that I regard as being genuinely life-changing. The programmed drums are fairly obvious too which does detract from the overall package a touch, although I admittedly find myself getting more used to them with each listen. Nonetheless, "Graveforests & Their Shadows" is an excellent example of the atmospheric black metal subgenre & if that's something that you usually dig then I have no doubt that you've find a lot of enjoyment in it.

For fans of Drudkh, Ygg & Wędrujący Wiatr.

4/5

For October please:

Trelldom - "Fra Mitt Gamle" (from "Til Minne…", 2007)

Winterfylleth - "Upon This Shore" (from "The Imperious Horizon", 2024)

Necrowretch - "Total Obilteration" (from "Swords of Dajjal", 2024)

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Pestilential Shadows - Devil's Hammer (from Devil's Hammer, 2024) [Submitted by Karl]

2. Spectral Wound - Aristocratic Suicidal Black Metal (from Songs of Blood and Mire, 2024)

3. Impaled Nazarene - I Al Purg Vompo: My Blessing (The Beginning Of The End) (from Tol Cormpt Norz Norz Norz…, 1993) [Submitted by Daniel]

4. Schammasch - They Have Found Their Master (from They Have Found Their Master, 2024)

5. Ljå - Til Satan (from Til avsky for livet, 2006) [Submitted by Karl]

6. Aetheria Conscientia - The Blossoming (from The Blossoming, 2024) [Submitted by Daniel]

7. Korgonthurus - Syyttäjäenkeli (from Kuolleestasyntynyt, 2020) [Submitted by Vinny]

8. Oranssi Pazuzu - Valotus (from Valotus, 2024)

9. Véhémence - L'étrange clairière (from Par le sang versé, 2019) [Submitted by Karl]

10. Mystifier - An Elizabethan Devil Worshipper's Prayer Book (from Göetia, 1993)

11. Havohej - Fucking of Sacred Assholes (from Dethrone the Son of God, 1993) [Submitted by Daniel]

12. In Aphelion - A Winter Moon's Gleam (from Reaperdawn, 2024)

13. Hulder - Hearken the End (from Verses in Oath, 2024) [Submitted by Vinny]

14. Wraithfyre - Ablaze in Abyssal Frosts (from Of Fell Peaks and Haunted Chasms, 2024)

15. Absu - Infinite & Profane Thrones (from Barathrum: V.I.T.R.I.O.L., 1993) [Submitted by Daniel]

16. Ymir - Silvery Howling (from Ymir, 2020) [Submitted by Vinny]

17. Paysage d'Hiver - Urgrund (from Urgrund, 2024)

18. Blut aus Nord - Elevation (from Memoria Vetusta II: Dialogue With The Stars, 2009) [Submitted by Daniel]

Satyricon - "Dark Medieval Times" (1993)

Norwegian black metal legends Satyricon & I go way back. Way back to this, their 1993 debut album in fact. From the very first time I heard opening track "Walk the Path of Sorrow" on underground metal radio programming I was hooked on this band that would go on to become somewhat of an icon in a soon to be saturated Scandinavian black metal market. That experience would see me seeking out whatever material I could find from Satyricon in the tape trading scene & would subsequently lead to me purchasing Satyricon's next two CDs upon release. But... despite always finding Satyricon's music to be greatly enjoyable, I must admit that I've never regarded them as a tier one black metal player alongside the Burzum's & Darkthrone's. Instead, they've always seemed like one of the leading players in a very solid second tier & that's something that I intended to challenge when going into my first revisit of their first full-length "Dark Medieval Times" in a while, particularly after reading Ben's five-star review recently.

It's easy to forget that the early Second Wave of Black Metal days still saw a band like Satyricon being a deeply underground act & the original cover art that was utilized for "Dark Medieval Times" provides further proof of that fact with the image looking not too unlike a schoolboy's dodgy hand-drawn art project. This is a shame really because that image is not a good representation of the musical maturity the album contains within in my opinion. The record was self-produced by seventeen year old band leader Satyr too which is not only fairly surprising but provides even greater perspective on where the Norwegian scene was positioned at the time & just how quickly it would explode onto the world stage over the next twelve months. While no doubt sounding suitably primitive, Satyr's production job gives "Dark Medieval Times" the aura & atmosphere it required in order to create a dark fantasy world full of frostbitten landscapes & unholy gatherings.

Satyricon's lineup had changed a fair bit over the first couple of years of their existence with Satyr (Wongraven/Storm) now being the only full-time member remaining from the four-piece configuration that recorded their 1992 self-titled demo tape. Guitarist Lemarchand (Dold Vorde Ens Navn/Ulver) is still there although he's listed as a guest contributor rather than a full-time member. The addition of infamous drummer Frost (1349/Gorgoroth/Keep of Kalessin/Zyklon-B) at the expense of original skinsman Exhurtum (Aura Noir/Infernö/Ved Buens Ende/Cadaver/Dødheimsgard/Ulver/Virus) for the band's second demo tape "The Forest is My Throne" was a masterstroke & may well have been the turning point that saw that particular release taking a noticeable step up along with the tragectory of Satyricon's careers while original bassist Wargod didn't last too long & was long gone by that stage as well. It's this partnership of Satyr & Frost that would become the basis for Satyricon's sound for the remainder of their careers & also provides the clear highlights of "Dark Medieval Times" along with the contribution of session keyboardist Torden.

The band's first demo didn't exactly set the world on fire & it would be the "The Forest is My Throne" tape that would first see the underground scene's ears perking up. I recently revisited that early cassette (a release that I owned in a bootleg CD version during the middle of the 1990's) & found that it already offered enough of what made those early Satyricon albums so great to keep me interested. "Dark Medieval Times" would see Satyr & Frost taking the next logical step though & would represent a commanding show of strength for a group of musicians that were still so young with Frost being just twenty years of age at the time of release. Satyricon's debut full-length is a highly atmospheric release that beautifully captures the icy Norwegian Winter & it's spectacular landscapes in musical form, particularly during the more keyboard-heavy sections of the album. In fact, I think there's a reasonable case for a dual tagging with the more targetted atmospheric black metal subgenre here with the more effective song-writing largely pushing out into more atmospheric territory & a strong folk component being incorporated in some of the pieces. The four-&-a-half minute folk piece "Min hyllest til vinterland" is the only demo track included & I think it's benefited from the additional time in the studio as I tend to prefer the album version. The remaining six pieces see the band hitting on a more consistently impressive level of blackened creativity.

The tracklisting opens with comfortably the best piece on the album in the wonderful "Walk the Path of Sorrow", a song that still sits up there with my favourite Satyricon songs to this day. Satyr's evil vocals are a real highlight of not only this track but the album as a whole. It's been interesting to confirm my long-standing suspicion that the remainder of the record struggles to match its opening track though as I can't say that I find any of the other six pieces to be particularly classic. There are no doubt classic sections (such as the transcendental slow parts of closer "Taakeslottet") but I don't think Satyricon have managed to pull together another whole song that ticks all of my boxes here & that's largely why I've never rated "Dark Medieval Times" as highly as Ben has. The second & third tracks (i.e. the title track & "Skyggedans") see the quality level being brought right down to merely being acceptable after the brilliant start to the album & leave the remaining four tracks with the task of pushing my affection back up to four-star level. There's no doubt that the potential was there with the best parts of the album being nothing short of breathtaking but I can't deny that there are a few less mature periods where the band can't quite pull it all together in as professional a fashion.

Don't get me wrong, "Dark Medieval Times" is still an essential release for anyone wanting to indulge in the Second Wave of Black Metal. It's doesn't, however, compete with the finest work to come out of Norway at the time & I feel that Satyricon's best work was yet to come on their next couple of albums. I intend on revisiting those over the course of the next few months so it'll be interesting to see if my pre-existing opinions on those two records have remained intact. As it stands though, "Dark Medieval Times" is an excellent example of the inspired creativity of a relatively small group of young individuals from a faraway land that managed to captivate the global extreme metal scene like few others before them.

For fans of Taake & early Emperor/Burzum.

4/5

Unanimated - "In the Forest of the Dreaming Dead" (1993)

My earliest memories of Sweden's Unanimated go back to the discovery of their debut album "In the Forest of the Dreaming Dead" while visiting Neuropath vocalist Mark Wangmann's house some time in 1993. I'd been following the early attempts at a more melodic brand of death metal for a little while by that point but this particular record was a little different in that it seemed to have a foot in black metal territory too. The idea appealed to me quite a bit so I ripped a copy of "In the Forest of the Dreaming Dead" for myself & gave it a fair few listens that year. My enjoyment of that release also saw me following Unanimated through their three subsequent full-lengths, all of which are worth hearing, particularly their 1995 sophomore album "Ancient God of Evil" which I'm a big fan of & tends to be my Unanimated release of choice these days. Perhaps that's the reason that I haven't returned to "In the Forest of the Dreaming Dead" since the 1990's but I remember it fondly & have been looking forward to seeing how it's aged for some time now. I've also been interested to see if it might prove to have been a significant player in the development of the melodic black metal scene as I remembered it being a lot more blackened than some websites would have you believe in the current day.

"In the Forest of the Dreaming Dead" is a fairly raw affair although the compositions are professionally put together & have a certain class about them, particularly for the time. My recollections were spot on too in that this is most certainly a melodic black/death metal hybrid. In fact, I'd go so far as to suggest that there's more black metal included than there is death metal which is in direct contrast to the general consensus. A lot of this material sounds uncannily like Swedish melodic black metal godfathers Dissection as well, so much so that there are more than a few sections that border on plagiarism &, given that "In the Forest of the Dreaming Dead" was released in February 1993 & Dissection's legendary "The Somberlain" debut album was released in December 1993, I'm gonna have to throw a cat amongst the pigeons by suggesting that perhaps Dissection may have sounded a fair bit different if not for the influence of Unanimated.

The musicianship is pretty decent but was still clearly a work in progress, particularly the blast-beats of Peter Stjärnvind (Krux/Merciless/Black Trip/Entombed/Murder Squad/Nifelheim/Pest/Regurgitate) which were still fairly primitive in their execution. I enjoy the vocals of Micke Jansson & find them to sit further over into the black metal camp than they do the death metal one, often even hinting at a Darkthrone-ish croak. The consistent use of higher-register, tremolo-picked melodies from guitarists Jonas Mellberg (Therion) & Johan Bohlin (Desultory) is a real strength for Unanimated & is probably the best thing about the album with the more solid tracks like "Blackness of the Fallen Star", "Through The Gates", "Mournful Twilight" & the title track all being littered with memorable melodic hooks. Interestingly though, my favourite track is the short ambient interlude "Silence Ends" which kicks off the B side. I'm a big fan of ambient music & this example could easily have been stolen from a professionally produced ambient record. As is often the case, it's only one of the more popular songs that I struggle with in the Viking metal period Bathory inspired "Cold Northern Breeze" which I find to be pretty cheesy really. The choice to close out the album with a cover version of Venom's classic "Buried Alive" was a strange one too but thankfully the band pull it off pretty well, even if it's heavy metal style does sound a little out of place on an extreme metal release.

Overall, "In the Forest of the Dreaming Dead" was a pretty decent way for Unanimated to kick off their recording career. It was also fairly groundbreaking in the sound they'd developed for themselves, even at this early stage. The execution isn't perfect & the song-writing could have done with a bit of a polish but that hasn't stopped me from enjoying this entertaining (if inessential) Swedish release.

For fans of Dissection, Necrophobic & Gates of Ishtar.

3.5/5

Here's my review:

The 1993 "Tol Cormpt Norz Norz Norz..." debut album from Finnish black metallers Impaled Nazarene made a significant impact on me after I picked it up on CD shortly after release. It's blend of simple, catchy, yet still pretty evil sounding black/war metal was really well produced & executed which left me with the impression of an artist that was aware of its limitations & worked really hard at maximizing its strengths. I wasn't surprised that Impaled Nazarene's tongue-in-cheek approach got a few purists noses out of joint (I'm looking at you Ben) but I could manage to look past it in order to take "Tol Cormpt Norz Norz Norz..." for what it is i.e. one of the more fun black metal releases of its time. So, when news of Impaled Nazarene's sophomore album hit my ears only ten months later, I found myself eagerly reaching into my pocket for another helping.

The "Ugra-Karma" album makes for a very good accompaniment for the band's debut actually as it possesses many of the same traits & qualities. It was recorded by the same lineup in the same recording studio with the same producer & only a short time later so I guess that was to be expected though, wasn't it? It's of a pretty similar quality too so if you liked "Tol Cormpt Norz Norz Norz..." then you were probably always gonna like "Ugra-Karma" too. The production job is once again extremely solid, making the most of the simple, uncluttered arrangements by presenting them within a tight, rock-solid framework. The drum kit sounds particularly powerful while front man Mika Luttinen's grim black metal vocals are once again a highlight.

The twelve track, 38-minute tracklisting is generally pretty solid with only the misguided industrial black metal piece "Gott ist tot (Antichrist War Mix)" failing to hit the mark. In fact, that particular number fell well below the bar so I've struggled to justify its inclusion to be honest. There's less of the war metal sound that I enjoyed so much on the debut this time but we find Impaled Nazarene replacing it with a punk rock influence that we'd see them expanding on further on future releases. The wonderful "Hate" is by far the best track on the album in my opinion with its incorporation of synthesizers giving it more of a classic Norwegian feel than most of the other material. I also really enjoy the more aggressive & brutal tracks like "Coraxo", "Goatzied" & "Cyberchrist".

"Ugra-Karma" has gone on to become Impaled Nazarene's most highly regarded release over the years & it's not hard to see why as it showcases a flare for violence & brutality wrapped in an air of accessibility, a lethal combination when done just right. There's been very little attempt at any sort of sophistication & there's a place for that sort of record in my life given my history as an old-school tape trader. I do have to admit that I prefer the debut over "Ugra-Karma" though, mainly because I prefer war metal over punk rock by a considerable margin. I also miss the dark Mayhem-style power chord riffs that "Tol Cormpt Norz Norz Norz..." delivered with such success. However, I've returned to "Ugra-Karma" many times over the years & will likely continue to for some time yet as there's no doubt that it's a very solid example of mid-90's European black metal.

For fans of Sadistik Exekution, Impiety & Belial.

4/5

I'm very interested in this album after including a track in the playlist. Will definitely be checking it out.

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Seth - Et que vive le diable (from La France des maudits, 2024) [Submitted by Karl]

2. Vananidr - The Watcher (from Beneath the Mold, 2022) [Submitted by Vinny]

3. Aura Noir - Conqueror (from Black Thrash Attack, 1996) [Submitted by Daniel]

4. Sear Bliss - The Winding Path (from Heavenly Down, 2024) [Submitted by Xephyr]

5. Gaerea - Hope Shatters (from Hope Shatters, 2024)

6. Samael - After the Sepulture (from Blood Ritual, 1992) [Submitted by Daniel]

7. Whoredom Rife - Den vrede makt (from Den vrede makt, 2024) [Submitted by Karl]

8. Gorgoroth - På slagmark langt mot nord (from Destroyer, 1998) [Submitted by Karl]

9. Sig:Ar:Tyr - Awaiting the Last Dawn (from Citadel of Stars, 2024)

10. Hail Spirit Noir - The Temple of Curved Space (from Fossil Gardens, 2024)

11. Keep of Kalessin - Through Times of War (from Through Times of War, 1997) [Submitted by Karl]

12. Krallice - Fatestorm Sanctuary (from Inorganic Rites, 2024)

13. Yoth Iria - The Great Hunter (from As the Flame Withers, 2021) [Submitted by Xephyr]

14. Cradle of Filth - To Eve the Art of Witchcraft (from The Principles of Evil Made Flesh, 1994) [Submitted by Daniel]

15. Diocletian - Barbaric Hunt (Feral Prey) (from Inexorable Nexus, 2024)

16. Kvaen - De Dodas Sang (from The Formless Fires, 2024) [Submitted by Xephyr]

17. Nattefrost - Primitive Death (from Terrorist: Nekronaut Pt. 1, 2005) [Submitted by Vinny]

18. Inherits the Void - The Orchard of Grief (from Scars of Yesteryears, 2024)

19. Enslaved - Heimdallr (from Ygdrasill, 1992) [Submitted by Daniel]

20. Dark Funeral - Shadows Over Transylvania (Re-Recording 2024) (from Shadows Over Transylvania (Re-Recording 2024), 2024)

Here's my updated Top Ten War Metal Releases of All Time list after deciding that Impaled Nazarene's debut album was worthy of a dual tag with conventional black metal which sees Revenge's "Behold.Total.Rejection" album dropping out:

01. Infernal Coil - "Within a World Forgotten" (2018)

02. Teitanblood - "The Baneful Choir" (2019)

03. Teitanblood - "Death" (2014)

04. Impaled Nazarene - "Tol Cormpt Norz Norz Norz..." (1993)

05. Damaar - "Triumph Through Spears of Sacrilege" (2007)

06. Archgoat - "Whore of Bethlehem" (2006)

07. Bestial Warlust - "Blood & Valour" (1995)

08. Conqueror - "War Cult Supremacy" (1999)

09. Blasphemy - "Blood Upon The Altar" demo (1989)

10. Archgoat - "The Light-Devouring Darkness" (2009)

https://metal.academy/lists/single/216

I agree with Vinny on removing Batushka. I've listened to a lot of modern Black Metal and there aren't a lot of bands that follow in Batushka's footsteps with the chanting aspect; the only one that springs to mind is Thy Darkened Shade and their 2014 album Liber Lvcifer I: Khem Sedjet which predates the Batushka album. 

Since we're going purely influential, I'm also with Vinny on removing Conqueror and keeping Blasphemy as the sole War Metal representative, unless someone else wants to suggest an example that's pushing the genre in the modern era. Something like Infernal Coil's Within a World Forgotten since that seems to be hailed as War Metal graduating into something more than the original Blasphemy-core, but I'm not an expert on that. 

I don't listen to a lot of Depressive Black Metal so take this opinion/suggestion as you will: I would keep Xasthur and Leviathan and remove Silencer. Unless Silencer's 2001 is cited as being a real influence on either of the other two albums, in which case I would keep Silencer and Xasthur. I did find out that Bethlehem's Dictius Te Necare predates all of these under the Depressive Black Metal tag, releasing in 1996, and while the production is much clearer and the songwriting isn't as frantic, it still has the reflective and despairful atmosphere along with a vocal style that I've heard from many a Black Metal band. I'm just not sure how well this album was known by other musicians at the time. If Bethlehem comes into the discussion, it'd be Bethlehem and Xasthur for me personally. I went back and forth but I think Ben's right in saying that Xasthur is the more quintessential Depressive Black Metal sound, even though I think Leviathan has the more interesting album.

I think Enslaved stays.

I'm unsure on having both Cradle of Filth and Dimmu Borgir beside each other as the final Symphonic Black Metal representatives, especially since In the Nightside Eclipse is already there. I'm not an expert on either of these bands, but from what I can tell, modern Black Metal bands more closely follow Dimmu Borgir's Enthrone Darkness Triumphant than Dusk and Her Embrace, which sounds still sounds pretty unique to me. I'd have to spend some more time coming up with a more modern representative for Symphonic Black Metal, I don't know if there is one to be honest. 

I also get frustrated by the need to further sub-categorise metal genres, but I think in this instance it's a valid one. The influence that Deathspell Omega have had on black metal can't be overstated. There are many (admittedly) lesser known bands that are attempting to utilise a similar sound. I reviewed one here at Metal Academy not long back actually...

https://metal.academy/releases/23898

Bekor Qilish, Kvadrat and Skaphe are other bands that come to mind that are very obviously bringing Deathspell-like dissonance into their music. I do feel there's something quite distinct about the sound that was introduced by Blut Aus Nord's The Work Which Transforms God and Deathspell Omega's mid-2000s releases. They don't have traditional black metal riffs at all.

For anyone interested, I think these are good examples...

https://open.spotify.com/track/2eDaorhzqRSmuYdPFW7Jnu?si=728c5b45a7584f69

https://open.spotify.com/track/5FSASFBCaKkBYhH6iYq4kN?si=9f51be8b321a4f29

https://open.spotify.com/track/377pFq2o7qSZSU9wAo8oiI?si=635093e767b540a0

Here's my review:

My earliest experiences with French black metal stars Blut aus Nord came through the tape trading scene of the mid-to-late 1990’s when I became exposed to their first two albums, both of which I really enjoyed. My self-imposed hiatus from the metal scene for pretty much the entirety of the 2000’s saw me almost completely forgetting about this band though & it wasn’t until Ben encouraged me to investigate their classic 2003 fourth album “The Work Which Transforms God” upon my return to metal in 2009 that my passion for Blut aus Nord was reignited & boy it was an exhilarating experience too. That record possesses a purity of darkness that few in the black metal scene can touch & it affected me on a deep enough level to see me flogging the album for months to come. Since that time though, I’ve found Blut aus Nord to be a little hit & miss with some of their releases falling a little flat & others reaching the higher stratospheres of the black metal air space. 2009’s seventh album “Memoria Vetusta II: Dialogue With The Stars” has always been one that I’ve taken very positively though, even if it perhaps doesn’t sit amongst my favourite Blut aus Nord records overall. I’ve returned to it several times over the years but have never afforded it the dedicated attention required for a well-informed review until now. Let’s take a look at what it’s all about.

Blut aus Nord releases inevitably possess their own unique characters & “Memoria Vetusta II” is no different in that regard. It contains some really big positives that drive its appeal but it also presents us with a couple of weaknesses that prevent the album from becoming the true classic it seems to have the potential to be on the surface. Unlike some of Blut aus Nord’s more experimental or avant-garde efforts, “Memoria Vetusta II” is noticeably more accessible & is unquestionably an atmospheric black metal record. It’s a lot more about producing ethereal soundscapes than it is about battering or intimidating the listener with its tone creating a calmer & more contemplative view of the world than a record like “The Work Which Transforms God” which was significantly darker. There’s a strong focus on melody here with the stunning guitar riffs combining with some subtly incorporated, almost angelic synthesizers to wonderful effect. In fact, the keyboard work sometimes reminds me of German ambient producer Gas with its soft, organic timbre beautifully intertwining with the guitar work to produce some quite vivid visuals. This is the real strength of “Memoria Vetusta II” as there’s an undeniable class about the way Vindsval creates his guitar parts & I find this element of the record to be infinitely impressive.

Unfortunately, there are a couple of things that detract a little from the strength of those components though. Firstly, the programmed drums sound weak & obviously artificial which goes against the more organic nature of the rest of the instrumentation. There are certainly those more industrially-tinged Blut aus Nord releases where the drum machine plays an intrinsic role in the atmosphere but here I find that it lacks the required cohesion with the rest of the instrumentation, a flaw that is only further highlighted by the fact that the bass guitar is so low in the mix that it’s almost redundant. Similarly, Vindsval’s grim black metal vocals reside quite a bit further back in the mix than I’d ideally like to see them sitting. This technique works really well for many of your more lo-fi & noisy black metal artists but here I find myself consistently wishing they were a little further towards the front so that they could compliment the clear strength in the guitar work. Sadly, this was not to be & I’ll have to take “Memoria Vetusta II” for what it is. Let’s not sit here dwelling on what-if’s though because this is still a damn fine black metal record in its own right.

The nine-song tracklisting is a wonderfully consistent collection of material that flows very nicely together, despite containing a few interesting deviations from the standard atmospheric black metal model. My pick of the bunch is actually the ambient/dungeon synth intro piece “Acceptance (Aske)” which puts me into a lovely warm & meditative state before the black metal assault firmly jolts me to attention. The more traditional black metal numbers are all very solid with "....The Meditant (Dialogue With the Stars)" & "Antithesis of the Flesh (...And Then Arises a New Essence)" being the most significant compositions in my opinion. The well-executed clean folk guitar piece “Translucent Body of Air (Sutta Anapanasati)“ works very well to break up the album while instrumental closer “Elevation” is also worth mentioning as it's comfortably my favourite of the metal tracks. I love the way that it manages to transcend the black metal genre through the use of repetitive, melodic motifs which wash over the listener. It’s a stunning way to finish what was already a highly rewarding hour of black metal.

Look, perhaps “Memoria Vetusta II: Dialogue With The Stars” isn’t the career-defining masterpiece that so many black metal fans seem to claim it as these days but it is a damn fine record nonetheless & one that I can’t see disappointing too many extreme metalheads, at least once they’ve given it a few spins & accepted the initially distracting drum programming. I have to admit that this was an obstacle for me on each occasion that I’ve revisited “Memoria Vetusta II” over the years but those feelings of hesitation inevitably fade once I became reacquainted with the obvious quality in the guitar hooks. There are three or four Blut aus Nord releases that I’d reach for before “Memoria Vetusta II” when I feel like a fix of high-class French black metal but there’s no doubt that it’s a record of substance that needs to be heard in an underground scene that’s so chock full of followers. These guys clearly fit into the category of leaders & their influence on not only their local scene but the international one is beyond question.

For fans of The Ruins of Beverast, Akhlys & The Eye.

4/5

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=e1f1eac0cfee4656

1. Gaerea - World Ablaze (from World Ablaze, 2024)

2. Akhlys - Maze of Phobetor (from House of the Black Geminus, 2024)

3. Árstíðir lífsins - Nauð greyprs élreka (from Aldrlok, 2024)

4. Adversarial - Merging Within the Destroyer (from Solitude With the Eternal..., 2024)

5. Enslaved - I lenker til Ragnarok (In Chains Until Ragnarok) (from Blodhemn, 1998)

6. Warmoon Lord - Blazing Warrior Soul (from Burning Banners of Funereal War, 2019) [Submitted by Vinny]

7. Whoredom Rife - The Beautiful End of All (from Den vrede makt, 2024)

8. Master's Hammer - Utok (from Ritual, 1991) [Submitted by Daniel]

9. Sólstafir - Hin helga kvöl (from Hin helga kvöl, 2024)

10. Critical Defiance - Full Paranoia (from The Search Won't, 2024) [Submitted by Daniel]

11. Begotten - If All You Have Known Is Winter (from If All You Have Known Is Winter, 2020)

12. Saidan - Genocidal BloodFiend (from Visual Kill: The Blossoming of Psychotic Depravity, 2024) [Submitted by Vinny]

13. Emperor - My Empire's Doom (from Wrath of the Tyrant, 1992) [Submitted by Daniel]

14. Ætheria Conscientia - Endless Cycle (from The Blossoming, 2024)

15. Satanic North - Village (from Satanic North, 2024) [Submitted by Vinny]

16. Amiensus - A Consciousness Throughout Time (from Reclamation, 2024)

17. Evilfeast - From The Northern Wallachian Forest… Tyranny Returns (from Elegies of the Stellar Wind, 2017)

18. Pestilent Hex - Chapter II: "Nature of the Spirit" (from The Ashen Abhorrence, 2022)

19. Summoning - The Passing of the Grey Company (from Minas Morgul, 1995)

Cool find. I would have probably never heard of this one if I hadn't joined the Academy. After giving it a few spins over the course of last week, I decided to review it as well:

https://metal.academy/reviews/35546/9858

As the final moments of Ulver's Bergtatt play out and fade into the abyss I complete my journey through Black Metal-The First Decade.

This really was a journey too, I experienced a range of emotions; anger, frustration, joy, sadness, disappointment, and satisfaction.  Where the Modern Death challenge list left me apathetic, I was never at a loss for visceral emotional response as I made my way throught the frostbitten, demonic, mystical, and beautiful forest of Black Metal's early offerings.

There was only one or two albums where I was left with a middle of the road sort of feeling. I was for the most part either writing a half star review or a five star review, and to me that's the best sort of art. I wouldn't reccommend every album as a stand alone, but I would reccomend that list as a complete experience.

I also learned a lot about myself and how I relate to this clan. 

I'm a very a-typical Black Metal fan, or at least very much against the grain of the stereotype perpetuated on the internet. I do not come to this music to praise the horned one-while not a church goer I am a very spiritually devoted Christian. I'm not particularly fond of absurdly low-fi production or blast beats-I enjoy them as flourishes or when they add a certain character to the overall product, but I am not on a quest to find the most harsh and abrasive recordings available.

so what am I doing here? 

I relate to descriptions of frozen wilderness and bitter cold. I understand isolation, and misanthropy. I enjoy evil sounding guitar riffs. My favorite albums on this list were 1st wave entries that played like diabolical thrash more than the 2nd wave or true Norwegian sound. The more melodic entries appealed to me. I have always prefered dirty vocals over cleans, so the black metal rasp suites me fine. 

I'm drawn to black metal through DSBM, which I get a feeling is sort of the black sheep (or goat as it were) of the sub-genre. It works along side my adoration for particular funeral doom. I enjoy melancholy introverted heavy music. 

BLACK FUCKING METAL! 

https://open.spotify.com/playlist/0Sw9mEcyXo1pGyFHR3znLT?si=9eb898291b6f4c46

1. Akhlys - Sister Silence, Brother Sleep (from Sister Silence, Brother Sleep, 2024)

2. Scarcity - Venom & Cadmium (from Venom & Cadmium, 2024)

3. Antichrist Siege Machine - Lysergic War Psychosis (from Vengeance of Eternal Fire, 2024) [Submitted by Sonny]

4. Aristarchos - Atrium - Martyr of Star and Fire (from Martyr of Star and Fire, 2024)

5. Tsjuder - Lord of Terror (from Kill for Satan, 2000) [Submitted by Vinny]

6. Saidan - Visual Kill (from Visual Kill: The Blossoming of Psychotic Depravity, 2024)

7. Kostnateni - Nevolnost je vše, čím jsem (Nausea Is All I Am) (from Upal, 2023) [Submitted by Daniel]

8. Sear Bliss - The Upper World (from The Upper World, 2024)

9. Above Aurora - Inner Whispers (from Myriad Woes, 2024) [Submitted by Sonny]

10. Anorexia Nervosa - Antinferno (from Redemption Process, 2004) [Submitted by Vinny]

11. Liturgy - Vessel of Everthirst (from Immortal Life II, 2024)

12. Aquilus - Into the Earth (from Bellum II, 2024)

13. Hellripper - Mester Stoor Worm (from Warlocks Grim & Withered Hags, 2023) [Submitted by Daniel]

14. Grima - Hunger God (from Frostbitten, 2022) [Submitted by Vinny]

15. 1349 - Ash of Ages (from Ash of Ages, 2024)

16. Melechesh - Incendium Between Mirage and Time (from Sphynx, 2003) [Submitted by Sonny]

17. Primitive Warfare - Heretic Crusade (from Extinction Protocol, 2024)

18. Trhä - Danë‡i (from Av◊ëlajnt◊ë£ hinnem nihre, 2023) [Submitted by Daniel]

When my self-imposed exile from metal was ending at the end of the Nineties and I was casting around for bands to get me into the new sounds that had developed since I left it behind in 1990, I stumbled upon CoF playing live on some late night UK TV show and was mesmerised by their sound and aesthetic which were all new to me. I soon obtained a copy of Principles of Evil (via Napster I am ashamed to say) and really got into this new, eccentric-sounding and thoroughly exciting "new" style. I've not always been wowed by all their stuff, but I did find that this debut, Middian and even Nymphetamine offered me enough enjoyment to thoroughly shred any possibility of me claiming to be any kind of trve kvltist black metal fan! However, over the intervening years my black metal listening has refined itself somewhat with Cradle no longer appealing to me that much and it has been a long time since I last listened to Principles of Evil all the way through, so it's time to see how it stacks up 25 years on from my initial discovery of the East Anglian black metal goths.

The most striking thing about CoF is the sheer theatricality of their sound. Combining the symphonic black metal of Emperor with the gothic aesthetics of MyDying Bride, Dani Filth strikes me as a black metal version of Andrew Lloyd-Webber and Cradle albums as soundtracks to black metal musicals. In truth, that fanciful notion has less basis in fact here on the debut than it does on some of their later releases, but it is still a fair comment, I think, as it is still steeped in theatricality. To this end Benjamin Ryan's keyboards play a significant role on The Principle... providing intros, outros, interludes and as atmospheric layering they are never far from the action and provide some great moments, such as during The Forest Whispers My Name where they provide a nice melodic overlay and my favourite track, To Eve the Art of Witchcraft, which is undoubtedly elevated by Ryan's keyboard work.

Obviously, Cradle never really sounded this black metal again, with them inching into more gothic metal territory with each release, but underneath the gothic and atmospheric trappings there are some pretty decent slices of melodic black metal blasting here with the title track, the aforementioned The Forest Whispers My Name and A Crescendo of Passion Bleeding. They are unafraid to slow things down, too, and lean more into the gothic metal direction. The Black Goddess Rises, for example, contains little actual black metal and is a much more considered tempo, almost resembling doom metal, for much of it's runtime.

I'm actually glad I returned to this for May's feature because it has held up quite well across the intervening years and I feel a bit more love towards it today than I did before revisiting it. Of course there is an inherent degree of cheesiness here, with Dani's clean vocals providing much of it, but I do like his singular brand of ear-piercing screams which possibly makes me a bit more forgiving. All in all, I am feeling so well-disposed to Principle today, after several revisits during the month, that I am going to up my long-standing 3.5 star rating to a full 4.

4/5

I loved the Antichrist Siege Machine track, which is unsurprising as the album it is from is currently my #2 album of 2024. Other notables were Darkestrah with the grandiose pomp and circumstance of "Destroyer of Obstacles" really tickling my fancy this morning, Sacrificial Vein's blatant DsO-worship and Tsjuder's uncompromising old-school onslaught also standing out. To be honest, I thoroughly enjoyed the whole playlist, except for the Labyrinthus Stellarum track, which is in large part due to a deep-seated loathing of synthesised vocals of the type used here, but even without that it was largely unremarkable to my ears. The closing Trhä track I also found to be quite emotional for some reason, it's wistful and reflective atmosphere chiming with my own emotional state today.
Once more a stellar effort Ben, thanks a lot.

Strong month this time with me picking up the fantastic Narbeleth (props to Sonny).  Since listening through the playlist on Sunday, these Spanish residing Cubans have not been off my speakers much.  New Mütiilation slipped by me and that track sounds promising to my ears.  I was not too smitten with Suldusk or Moonlight Sorcery but it was great to see some BAN (underrated album that "Odinist..."), Rotting Christ and Xasthur getting some air time. 

Here's my review:

1991's "Worship Him" debut album was a relatively big record for Ben & I back in the early 1990's. I was already a fan of the First Wave of Black Metal when I first discovered Switzerland's Samael & their first full-length possessed some of the best traits from a number of those bands which saw me being heavily attracted to their fairly simple yet deeply atmospheric take on early black metal; their measured & doomy sense of control being in direct contrast to the death metal explosion that I was right up to my eyeballs in at the time. We'd pick up 1992's follow-up album "Blood Ritual" on CD & would give it a very similar treatment & with a fairly similar result from what I recall too. I didn't regard either record as being classics for the genre at the time but felt that they were essential early black metal release nonetheless. I always got the feeling that they sported a timeless quality & that element is still very much in effect with this week's revisit.

"Blood Ritual" isn't as different from "Worship Him" as some reviewers tend to make out. It certainly contains a cleaner, heavier production job that has obviously been inspired by felllow Swiss extreme metal legends Celtic Frost with the thick layers of rhythm guitar being a clear highlight of the record. The slow-to-mid paced tempos of "Worship Him" have only been dialed back a little further with the doomy vibe of the slower material off the debut having been accentuated here. If anything the riff structures are even less typical of the modern-day black metal sound too with thrash & doom metal tools being utilized within the context of a black metal atmosphere. Guitarist Vorphalack's grim Quorthon-inspired vocals always end to tie Samael to the black metal genre too, along with the darker feel & simpler riff structures. This is black metal at its most primitive, only with a production that goes very much against the traditional lo-fi grain that black metal was built on but one that definitely suits Samael's character traits. Celtic Frost are the clear source of inspiration here & (as with "Worship Him") I can't help but wonder as to just how much of an influence the early Samael releases had on Darkthrone's transition into black metal, particularly records like "Panzerfaust". The early works of Greece's Rotting Christ & Varathron also come to mind due to the similarities in style & tempo.

The tracklisting on "Blood Ritual" is very top-heavy with the vast majority of the stronger material residing on the A side. There's a short lull in the middle of the album with the faster title track (a re-recorded track from their 1988 "Macabre Operatta" demo tape) & short interlude "Since the Creation..." failing to hit the mark before things return to more enjoyable territories for the remainder of the record. The most notable inclusion is the incredible "After the Sepulture" which was clearly Samael's finest moment to the time & is still one of my all-time favourites amongst the earlier black metal acts. It represents Samael's first genuine classic & is probably the differentiator between where the two albums stand for me personally. Other highlights include "Poison Infiltration", "Bestial Devotion", the solid opener "Beyond the Nothingness" & the lengthy "Macabre Operatta" (another re-recording from the demo of the same name").

"Blood Ritual" is another high-quality effort from a black metal band that had been around a lot longer than most at the time & showed a clear understanding of the key elements that make the genre so great. There's not a lot between Samael's first two full-lengths but I tend to find "Blood Ritual" just edging out its older sibling overall, buoyed by the impact of the wonderful "After the Sepulture" while "Worship Him" lacked such a transcendent highlight track. 1994 would see Samael topping both records with their career-defining "Ceremony of Opposites" third album but "Blood Ritual" is probably still my second favourite Samael record of the ones I've heard & it should be essential listening for anyone wanting to gain a comprehensive understanding of where the black metal genre came from.

4/5

With evil slow riffing and vicious vocals by Vorph, this is a destructive highlight and perhaps the best song of Samael's black metal era:

Evilfeast is a solo project of Polish multi-instrumentalist Jakub Grzywacz, who goes by the pseudonym of GrimSpirit. The project has been going since 1996, when it was then known as Darkfeast (changing name in '98) so he has some credibility as a relatively early adopter of the atmospheric black metal creed and not just some random bandwagon-jumper. So, I thought I hadn't listened to Evilfeast before and when it was pointed out that indeed I had (thanks, Daniel!), I still had no great recollection of the event. Not exactly a ringing endorsement I think you will agree. However, it says more about my insatiable appetite for listening to more and more unfamiliar metal albums and a resulting lack of retention of any but the most excellent (or utterly terrible), than it does about the quality of the release in question. This is because Elegies of the Stellar Wind is, in fact, a pretty decent slab of black metal with a pronounced symphonic element influenced by none less than the mighty Emperor, I would suggest. Although the keyboards are fundamental to the album's sound, it still feels like it sits more within the sphere of atmospheric rather than symphonic black metal because, although the synth sound can be traced back to Ihsahn & co, it isn't as bombastic as the Black Wizards, but rather it feels like it is heralding the majesty of the natural world rather than the machinations and achievements of powerful men.

The black metal component is generally of the uptempo, quite savage-sounding, thinly-produced type that harks back to a previous black metal age and doesn't contain the lushness of more recent atmospheric black metal efforts, but that feels no less effective for it. I must admit I like it's quite raw black metal stylings, whilst the keyboards are incorporated effectively and even though they have a significant presence they still work well in tandem with the riffing. It never really attains the hypnotic transcendence that the absolute top-tier atmospheric black metal releases achieve and, in truth, it probably feels a little more down-to-earth as a result, but whilst these ham-fisted attempts at describing Evilfeast's sound make it feel like it won't work, it absolutely does, it's just that it's not exactly what you would necessarily expect.

I'm gonna stick with my old RYM score of 4/5

My first question has got to be "did Daniel really suggest the Equilibrium track?!" I mean, I quite dug it too, surprisingly (it felt very cinematic), but it seems most unlike him.

It was a pretty lean month for me for The North releases so I thought I'd include it in the interest of diversity. It was probably the least offensive track from an album where I found nothing whatsoever that appealed to me.