The Atmospheric Black Metal Thread

Ahh, atmo black.  I admit, I found Burzum's Filosofem to be great black metal on its own, but having such a long dungeon synth track at the end felt inconsistent.  Now I'm just begging RYM to find some replacement for the number 1 spot because of it.  My number 1 for any black metal genre is the traditional black album At the Heart of Winter.  But for atmo, I'm gonna use my own tags instead of MA tags:

1. Alcest - Souvenirs d'un Autre Monde (Blackgaze)

2. Gris - Il était une forêt...

3. Blut Aus Nord - The Work Which Transforms God

4. Deafheaven - Ordinary Corrupt Human Love

5. Blut aus Nord - Memoria Vetusta II: Dialogue With the Stars

6. Summoning - Stronghold

7. Altar of Plagues - Teethed Glory and Injury

8. Summoning - Let Mortal Heroes Sing Your Fame

9. Negura Bunget - OM

10. Thurisaz - Scent of a Dream

Here's my updated Top Ten Atmospheric Black Metal Releases Of All Time following my revisit to Altar of Plagues' "Teethed Glory & Injury" album which has seen "Dark Space III" dropping out:

01. Burzum – “Filosofem” (1996)

02. Akhlys – “The Dreaming I” (2015)

03. Altar of Plagues – “Mammal” (2011)

04. Burzum – “Hvis lyset tar oss” (1994)

05. Wolves In The Throne Room – “Two Hunters” (2007)

06. Paysage d’Hiver – “Im Wald” (2020)

07. Paysage d’Hiver – “Winterkaelte” (2001)

08. Murmuure – “Murmuure” (2010)

09. Altar of Plagues - "Teethed Glory & Injury" (2013)

10. Lurker Of Chalice – “Lurker Of Chalice” (2005)

https://metal.academy/lists/single/160

I must say that it warms my heart to see Lurker of Chalice gain a top 10 spot from you Daniel. Your initial 2.5 stars score for that album made me question your commitment to sparkle motion.

Here's my updated Top Ten Atmospheric Black Metal Releases Of All Time after deciding that I simply must include this month's feature release in there somewhere at the expense of Lurker of Chalice's self-titled album (sorry Ben):

01. Burzum – “Filosofem” (1996)

02. Akhlys – “The Dreaming I” (2015)

03. Altar of Plagues – “Mammal” (2011)

04. Burzum – “Hvis lyset tar oss” (1994)

05. Wolves In The Throne Room – “Two Hunters” (2007)

06. Paysage d’Hiver – “Im Wald” (2020)

07. Progenie Terrestre Pura - "U.M.A." (2013)

08. Paysage d’Hiver – “Winterkaelte” (2001)

09. Murmuure – “Murmuure” (2010)

10. Altar of Plagues - "Teethed Glory & Injury" (2013)

https://metal.academy/lists/single/160

Burzum - "Burzum" demo (1991)

Varg's first demo tape is another one that I picked up at the same time his other demos during my tape trading days after becoming obsessed with Burzum's early albums. It's a crude three-song instrumental affair that sees him playing all of the instruments on material that would all be re-recorded for the first couple of proper full-lengths. The sound quality is terrible with the music being very soft & the tape hiss being significantly louder. "Lost Wisdom" sounds almost sickly in this format while "Spell of Destruction" is similarly pedestrian. It's only really the dungeon synth piece "Channeling...." that's of interest here as the lack of production seems to almost suit it. In saying that, I'm gonna go out on a limb by claiming that this demo may be the earliest atmospheric black metal release that I've encountered. The subgenre is generally thought to have kicked off a couple of years later in 1993 but these three tracks seem to fit the bill for me. It's a shame that "Burzum" is such an uninspiring listen though, despite the material covered becoming so significant over time.

2.5/5

Obsidian Tongue - The Stone Heart EP (2024)

Released 2nd February (self-released)

I've been a follower of Obsidian Tongue for a decade or so now and am a big fan of their epic atmospheric black metal. The band is made up of multi-instrumentalist Brian Hayter and Raymond Capizzo who is drummer with Falls of Rauros and is Austin Lunn's live drummer with Panopticon. The Stone Heart is a three-track, twenty-minute EP and is their first release since 2020's Volume III.

The band play lush atmospheric black metal that utilises both cleans and harsh, blackened vocals. There has been a post-metal aspect of build-up and release creeping into their sound since their more straightforward early couple of albums and this works exceedingly well as a songwriting decision with more textural variation within tracks. Nowhere is this better illustrated than on the EP's main event, the almost nine-minute second track, Winter Child, which has become an instant favourite.

The title track opener begins in a gothic-like, almost gentle post-punk style with clean vocals before bursting into full-on black metal blast-a-thon with Hayter reverting to the ragged, full-throated shrieks he delivers so well. The sound is filled out with the addition of fairly subtle keyboard work that is well-placed without ever threatening to overwhelm or drag the track into symphonic cheesiness. The aforementioned Winter Child begins in similar vein to the title track, except that the clean-sung opening section has more of a viking metal feel to it and extends for half the track length. However when the duo drop the hammer on this one at midpoint it really cooks and sweeps away all before it in a wave of black metal fury. It possesses the kind of scope of a mid-era Enslaved track, although the duo still have a bit of a way to go to emulate the Norwegian Kings! The EP closes out with a nice enough, if somewhat superfluous, three-minute instrumental piece which would probably sound really good worked into a full song.

Here's hoping that The Stone Heart is merely a place-keeper and that a full-length in similar vein is in the offing without us having to wait another four years.

4/5

Etoile Filante - Mare tranquillitatis (2024)

Well, this is a bit of a strange one, I must say. Mare tranquillitatis is an album of synth-heavy cosmic black metal, so your first question I would imagine is "So what is so unusual about that?" The strangeness comes from both the sound of the synths, which is of a vintage, 1970's type, typically employed by the likes of Hawkwind on their late Seventies and early Eighties albums and the prominence of said synths in the mix. In fact, for significant portions of the album, the black metal component seems to be acting in support of the synths rather than vice-versa. Yet, somehow the band make this work far better than I would have expected, even though I found it to be a little distracting at times.

The black metal component is reasonable enough, if not exactly earth-shattering, with a decent quota of fiery blasting and the vocals possessing the requisite distant-sounding banshee shrieks which we all expect as a minimum from our atmospheric black metal. But then, where your usual atmo-black album fills out the atmosphere with an additional layer using often quite reedy and thin-sounding synths, Etoile Filante go a whole other way and dollop on the retro-sounding synths in a way that often pushes them as the focus of the tracks. What I personally found especially distracting by this though, is how the synths often brought to mind other songs and set my attention wandering away from the matter at hand. For example, there is a point midway through the opener where the synths sound just like parts of the Queen soundtrack for the Flash Gordon movie and, similarly during the next track, Fragments de Poseidonis - d'après Atlantide de Clark Ashton Smith, they felt identical to the mid-section of Hawkwind's Damnation Alley from their 1977 Quark, Strangeness and Charm album, all of which pulled me out of the current listening experience. Of course, I accept that this is a personal problem and most likely won't be experienced by other listeners and the issue doesn't really arise outside of the first two tracks. Either way, the resultant album has an atmosphere I have not encountered too often in a black metal context. I find most cosmic black metal seeks to convey the frigid coldness of interstellar space and the awe-inspiring effect of sources of unbelievable energy such as stars and black holes within this frozen environment, whereas Etoile Filante seem to be taking a warmer, more human-centric view as expressed by the synth-work, which more evokes man-made environments such as starships or orbitals. The final couple of tracks, "Naufragés de l'océan d'onyx" and "Le vent des éternels" strike a much better balance between synths and black metal and, for me, are the best two tracks on the album and this is the main reason I leave the album in a positive frame of mind, I suspect.

I'm not saying it is by any means, but my main worry with Mare tranquillitatis is that, in the crowded black metal world, the untypical synthwork is a "gimmick" to enable it to stand out from the slew of black metal releases destined to hit our shelves and streaming platforms in 2024. It's certainly got me talking about it for one anyway. I hope this isn't the case and the guys are all-in with this from a purely artisitic viewpoint because even though it sometimes doesn't work entirely, it is still an interesting listen throughout.

3.5/5