Black Metal 2025 by Vinny

I have listened to a lot of black metal over the years and the albums that I hold in high regard all exude passion for their artform. In a sub-genre that champions the minimalist approach it is easy to become lost in a sea of raw, primitive and yet utterly emotionless music. There is absolutely a time and place for that, however with where I am at in my bm musings nowadays I like to hear some heart in what I am listening to. Luckily for me, Gràb are full of passion for what they do. Yes, the melodicism helps no end here. That smattering of doomy atmosphere also does much to enhance the experience. But at the very core of Kremess is the undeniable presence of musicians revelling in what they love doing and in turn letting the listener revel in the majesty of the music they produce.

I think what stands out most for me on the album is how mature it sounds. This is a band who can layer different instrumentation into a perfectly complimentary arrangement. That bayan never once sounds intrusive. It is tempered perfectly by the tremolo riffs and balanced well in terms of atmospherics with the keyboards of Valentina Astashova. When it does get sole playtime it manages to add welcome depth to the track (the end of Skull Gatherers). But the expected instruments also put in a great shift. A mention must go to the subtle yet effective work of guest drummer Vlad Yungman, who like Morbius and Villhelm is also of Ultar fame. The drums are never a blasting frenzy, yet are interesting and in total keeping with the pace of each track. The tremolo riff is strong here, complimented by strong melodies and leads also. As I say, it is all so beautifully arranged to make tracks such as Impending Death Premonition take on such a haunting, ethereal mood just by this clever use of aggression and melody

Mixed and mastered by none other than Dan Swanö himself, this record has a certain pedigree about it. Whilst it does get a little cumbersome in arrangement in places (opening track ‘The Sum of All Loss’ feels a bit rushed in places), overall, there is more than enough satisfaction here for my North clan tendencies. Walking that fine line between melodic yet not entirely accessible black metal, this is a record that shows strong elements of control and restraint to me. Although I cannot find the full instrument listing for the record, there is more being deployed here than just guitars, bass, drums and ghastly vocals. I hear a bayan at least once and I also suspect there is a banjo in the mix here somewhere on occasion.

I have been spinning this one for a few weeks now. Each time i feel like I have the meaure of it, I chnage my mind. The enchanting blend of black metal and death metal keeps me coming back regardless. Not that this combination is anything new by any means, but for all its flurries of keys and gang chants, Lost Legacy never comes across as pompous or grandiose. It still feels earthy and unafraid to its sinew and bone. Whilst it retains a lot of melody, this is not a record that you could easily pigeonhole as being simply melodic black metal. Arguably a black metal record with a hefty dose of melodic death metal for good measure, the album uses the death metal elements to hone the intensity of the black metal experience.

I enjoy the immediacy of this record, as well as its honesty to be able to stick to what it does best. Everything is clear in the mix without loss of the murk that you would expect from such a record in this sub-genre. You can hear the bass just as well as the drums, guitar and vocals. Each component part contributes to the urgent tempos and the overall threat of the record. Do not be fooled into thinking that this is a collection of three-and-a-half-minute blackened speed metal tracks though. We have some tracks here that go over the six and eight-minute mark. The band know how to write solid songs and can maintain their energy for as long as required. Listen to the high-speed rumble of the bass on ‘Death’s Mordant Blaze’ as it dances over the top of the drums and guitar, showing there is some real rattle and hum behind the sound (not a U2 reference though). Nachash have produced a real treat here on their second album. No sophomore slump here folks.

As you would expect then, this record is a transcendental affair. With progressive elements sat alongside conventional black metal fare, there is real depth to what Oraklet delivers here. The more pagan/folk elements compliment his baritone vocals perfectly, creating a wholesome and earthy sounding experience. The violin and viola create a classical style of atmosphere to the familiarly grim and gnarly black metal music also. Add in acoustic sections, choral passages and near epic, sweeping elements also and you soon know that you are in for a treat with Häxkapell’s sophomore release. The downside for some maybe that there is a loss of the traditional coldness to the sound that diehard fans of bm would harken for. The sound is hardly warm like say Hellenic bm would fashion I the traditional understanding of such a description, it’s more comforting even though the genuinely desolate and morbid elements are still plainly on show.

This EP nicely scratches my Ninkharsag itch as I wait for the next full-length. Continuing their themes of ancient history, magic and occultism, The Black Swords of Winter is a raging torrent of melodic black metal that ticks more than enough boxes for me over the six tracks on offer. Suitably opened by a moody and atmospheric intro track, the EP soon picks up the pace and barely lets up for the next twenty-two-minutes. Muhammad Candra’s artwork absolutely represents the icy content that lies within. As the flames of the dragon on the cover suggest, any burn here is a cold one.

There are three guitarists listed as being contributors on the record (does not sound like they are all deployed at once). As well as main vocalist Bartłomiej Krysiuk, I count another five (choral and otherwise) contributors. As a result, the album feels like it is growing from track to track. There is little variation to the format in all honesty, but the different vocalist appearances do add some welcome variation. This is not to say that otherwise the album is boring, far from it in fact. It stays true to an atmo-black metal record style and gives a solid acquittal of its credentials in the process.

If, like me, you schooled yourself on atmo-black via any of the Memoria Vetusta records by BAN, then Bloodbark is most definitely for you. The snow here is pristine white, the air is clear and the atmosphere holds a density behind these endearing images. The music still has a charge to it, a vibrancy to the tremolo that reminds me of some of Grima's album from this year also. You would be hard-pushed to call this one a classic by any means and it certainly lacks the variation of Nightside by Grima, yet this record still possesses a charm all of its own.