Tag Archives: black metal

Underground Sounds: rāhha – Descension Ceremony

Label: Independent
Band: rāhha
Origin: Germany

I can’t tell you much about rāhha as of yet. Not that I don’t want to, but the German duo seems to come out of nowhere with this their destructive second EP ‘Descension Ceremony’. Their Facebook page made me none the wiser either so I’m just going to tell you how they sound instead.

So think Germany, think Nachtmysticum, think Mgła, think… well, listen. It combines the atmospheric, the raw and the haunting into one epic journey.

Fire and fury erupt when the EP kicks off with ‘Diocese of Endless Strife’. The sound is cavernous but full and immersive. The vocals are in your face, raw and passionate. They are in power, in control of the depths you’ve plummeted into as the thudding drum starts to hammer away. There is not even any noticeable shift when we move on to ‘Korpsgeist’. If you catch the wave, the sonic exaltation of their song, your in for a rapturous ride as the speed and rising cadence has a sweeping power. I just want to punch my fucking fist in the air and scream until I have the same rattling howl.

‘Empty Chalice of Life’ is another firebrand on the holy houses. Black metal in righteous opposition with all the anger and not a sense of compromise as we launch into the final tune. We delve into ‘A Waxen Image Ritual’, where the raspy voice barks and howls. An immersion into the purest darkness with rapid blast beats, tremolo guitars and and a remarkable portion of catchiness to it. Can’t wait for more from this duo!

Underground Sounds: Vanum – Ageless Fire

Label: Profound Lore
Band: Vanum
Origin: USA

Vanum is a cooperation between members of Ash Borer, Yellow Eyes, Predatory Light, Vilkacis and Fell Voices (and 3 of these names apply to one man). That puts them in a particular bracket of black metal, with pure, undiluted fury. This is their second full length, following two years after the ‘Burning Arrow’ EP and it promises nothing but power.

Vanum is all about the grand gesture, the simplified sweep, over the miserly details. That, in itself, is a testament of their power and maximum delivery and I’m glad to have witnessed this life. ‘Ageless Fire’ is the title of this album and for me its an instant elevation to the status of modern-day black metal deity.

‘War’ is like a marching song, into the flames. Slowly, majestic and strong it comes on and delivers us to a mellow tremolo riff at its ending, which fades gradually. It hardly primes you for ‘Jaws of Rapture’, which follows on the heels of a church bell. Like a cold rain, the song hits you with a wall of contentious guitars. The sky is grey, the air cold, but fire burns behind the war engine that is Vanum.

What follows after that is the 10-minute epic ‘Eternity’, which feels like a long baptizing of fire. While furious in its delivery and barked vocals claw at you with maddening fervor, the melody is leading the track. When it drops back to a slower pace, you can even feel a bit of a rock groove emerge. Yet never does it relent as soaring guitar melody enters and carious onwards. By the time you reach ‘Under the Banner of Death’, you’re battered and tired. Yet this track, with its melancholic opening salvo, digs even deeper as we go into the trenches once more.

The music of Vanum always carries both. There’s an overly epic aspect to it, a grandeur and unmistakable beauty, as we hear on the title track. But it always carries the fires of war and the eternal fog arising from it. ‘Erebus’ is then the finalizing track, the last notes, where suddenly a blissful calm has been reached. Has the fire burned everything, or are we in the fire?

Neither flesh nor fleshless,
Neither from nor towards.
Spirit terror in the mortal abyss
Rise through the nexus as the wheel turns.

Underground Sounds: Laster – Het Wassen Oog

Label: Prophecy Productions
Band: Laster
Origin: Netherlands

Laster is an oddity in the black metal universe. Not just in the looks, but musically the band leans heavily on something completely different as their peers. Though 2 of the members are active in more rootsy black metal band Nusquama, their sounds are more like those of Grey Aura than any of the more conservative projects. And their latest statement is another gem.

‘Het Wassen Oog’ is already the third full length by the Utrecht band, maintaining their sound and visual aesthetics. This time on Prophecy Productions, a label open to that which lacks categorizing. I’m not sure if it will appeal to the more conservative listener, but as a fan of the experiment and expressive, I enjoy very much the sound these guys produce on this album.

‘Vacuüm ≠ behoud’ maybe references clearly one of their influences, by addressing the theme of a different world and closing with the line ‘Ceci n’est pas un souvenir’. Is that a nod to Alcest (‘Souvenirs d’un autre monde’). It wouldn’t be surprising as the music is filled with the sweet sounds of postrocky/shoegazy passages. Dreamy, yet also containing harsh screams, the music offers a strange contrast, that is eerily beautiful. It allows you to sink into the obscure dance music.

Often there are these peculiar, repetitive parts that have something carnivalesque, that mesmerizing mystery of the circus. It is a different kind of dark, but equally alluring in their music. This can be heard on tracks like ‘Ondersteboven’, which also has a funky bass line, but also ‘Weerworm’. In between, ‘Haat & Bonhomie’ breaks the mold and surges into classic black metal in all its formal fury. Yet, there’s always a mystique. A movement, a dance between the instruments. It simply feels enjoyable, inviting, and fills you with excitement.

It’s hard to really put to words what Laster submits you to, but it’s a highly immersive experience. Catchy, surprising and still very much true to the essence of what this black metal record should sound like.

Underground Sounds: Nelecc – The Stars

Label: Independent
Artist: Nelecc
Origin: Kenya

Metal touches hearts and minds in far-off places and Nelecc is a solitary act in Kenya. Seeker, the man behind the act, is intrigued by nature and solitude, but also the stars are significant in his work.

Recently, he also engaged with other East-African artists in the project Krummholz, which clearly shows his artistic vision of atmospheric black metal as well. It’s all about immersion, storytelling and a strange way of letting go. That is the beauty of his work and what I love about ‘The Stars’.

Nelecc is a star gazer and that is what his music brings forth with an almost shimmering quality as opener ‘The Stars’ unfolds. The melancholy in the initial sound is deep, profound and warming. The song merges into ‘A Thousand Suns’, which contains some storytelling passages, with spoken word, introducing the overall story. Though muddled slightly in the mix, the music is tight and captures the attention like a steady stream. All of it flows with a cosmic languidity.

The music is epic in its formulation, slowly building from a murmur to a warm blanket, draped over everything in sight and filling one as a listener with a pleasant sensation. But as we advance, up the slopes towards harsher grounds, the sound becomes more punishing, more battering. ‘Forest of Gloom’ thus is an onslaught of blast beats and heaviness, hitting you like cold rains. In that way Nelecc shows its diversity and potential, Wonderfully hazy, dreamy and yet resonating broadly. It’s a record to listen to, now.

Final song ‘Amidst the Mist’ is an eulogy, a farewell with longing to a place of magic. It’s one you wouldn’t want to leave with the lo-fi sound and pools of sonic magic.

Underground Sounds: 雲雀/Hibari – 雲雀

Label: self-released
Band: Hibari
Origin: Japan

雲雀/Hibari is a one-man black metal band from Kyoto, playing a sound not far removed from the current blackgaze trend, but with a leaning to the atmospheric and DSBM side of things. The intermezzos remind a bit of Opeth.

If you want to write the name slightly more accessible it’s Hirari. The man behind the band is Ryotapon. He’s been active in 5PM Promise and Arbus, two other projects. The interesting thing about his record is that the inspiration is taken quite liberal. No holds barred, which is quintessential black metal in my book. For this band, a full band is listed, but Ryotapon is the only creator.

‘Antidote’ sets us on the path with a reluctant beginning. The tunes are like the first fall of snow. Gentle, drifting down to earth with a slow, reverberating sound attached. But once the flood gates are open the sound streams in and a moment later fully unleashes. Everything is smooth and soft, but the vocals, which are raw and harrowing, disrupting the peace. Hibari likes to interject a little Opeth acoustic, before jumping through the eyes in a warbly tremolo passage with oddly clanky drums.

It’s not much different on the eerily melodic ‘The Wheel of Sins’ and ‘Lunaj Meduzoj’, including that odd singing in the intro, making it feel a bit more like a pop ballad for a moment. But hey, that’s part of the deal and it works out pretty well as the song builds up, not unlike a Solstafir work. Cold, melancholic and gloomy is what describes Hibari best, which is just the way we like it.

Nelecc: Gazing at stars in Kenya

Africa is the final frontier when it comes to metal, but something is definitely brewing with bands like Nelecc from Kenya, creating their very own brand of atmospheric black metal. But the local scene is small and mostly unknown, yet this gives it a unique flavor.

Kenya has been a country with a moving history but has also offered a relatively stable breeding ground for musicians. Unsurprisingly, this also has created bonds across boundaries and the one-man band Nelecc has seen new ties, as the artist, Nelecc himself has joined forces with Victor Rosewrath from Vale of Amonition (Uganda) and Noktal from Djibouti in the band Krummholz.

Also, he was kind enough to tell us some more about his music and vision.

Nelecc: Nature, Stars, and Inspiration 

Hello, how is Nelecc doing?

Nelecc is doing great, thank you. 2018 was quite the year and I am happy with how it went in terms of music.

How did you get started with Nelecc and what does the name mean?

The idea of Nelecc was started while I was in high school. I had a strong will to make music, and get lost in it. Since Nelecc is part nature, part personal life experiences, and part fantastical themes, I decided to mix the real with the ethereal. Hence, the Nel(son)ecc(lesiastes).

Which music inspired you to pursue the path of black metal with your own project and did you have any previous projects or bands you were active in?

There is a lot of different music (even different genres) that inspired me to do black metal. I initially wanted to form a black metal band, but was not able to due to the fact that I grew up in a very remote town with barely four metalheads, and a really bad music scene. Since I was so far away from Nairobi, and couldn’t get in contact with the big city metalheads because of my high school, teen years shyness, I decided to just do it by myself. I hadn’t wrapped my head around the concept of having a solo project, but it grew on me faster than I expected. In Africa, the two bands that have influenced me to do black metal are: Absence of Light, and Wildernessking.

Can you share with us what sort of theme, message or idea you try to convey with Nelecc?

The themes are: Nature, personal life experiences, and fantasy. It is a blend of the three really. Like some sort of tale, but not really one, haha.

You’ve recently released the record ‘The Stars’ with Nelecc. A concept album it seems with a story to tell. Can you share what the story is on the record?

Opening: The Stars – This is practically an intro to the album, and the journey of a guy who seeks another world far from, yet in within this one. The other remaining tracks take you through a fantasy world, my world, and the natural world.

What was the process like of writing and recording the record?

Writing and recording the album was tedious considering how much I had to learn (and what I’m yet to learn) about mixing and mastering. But, as it didn’t seem to be sounding too good, Mike L. of Sojourner continually gave me incredibly important tips on how to get a much better mix. It was incredibly helpful for that process, and definitely boosted the release.

On the cover of your record ‘The Star’ you show, what I believe to be, a Kenyan landscape. The content of the lyrics is also referring to places and is partly in the native language. How important is your origin for your music?

The cover art is a picture of lower Rift Valley. Going to places like these as a child always took my breath away. I was always in awe of the enormity of it all. The peace, the cool breeze, the chirping birds, flowing streams, falling water… It is a place to become. And that is why nature is my greatest influence. Growing up in a small town surrounded by the wilderness definitely helped it. So, it is important how or where the ideas generate for one to come up with a project.

Would you say your music could be created anywhere else than in Kenya?

I believe music can be created anywhere (even Antarctica). It’s universal. Where you draw your inspirations from is what is really important.

Can you tell me if there is a black metal scene or metal scene in your country and how it started, which bands are important and where it is happening?

The main metal scene is in the capital city, Nairobi. There is a blackened death metal band that I mentioned earlier, who also influenced me to carry forth with black metal; Absence of Light. They have a full-length record out from 2013 (Vyom Chakra) and it’s absolutely magnificent.

Are there any bands you’d like to recommend from Kenya or neighboring countries?

I’d recommend my friend, and bandmate’s band, Vale of Amonition (doom metal, Uganda). Some other good bands from Kenya would be The Seeds of Datura (doom), Last Year’s Tragedy (melodic metalcore), In Oath (deathcore), and Mortal Soul (metalcore).

You’ve recently released a joint record with Krummholze, an international East-African project with Victor Rosewrath from Vale of Amonition from Uganda and drummer Noktal. How did this come into being?

It was pretty simple really, and a more than a pleasant surprise. Victor Rosewrath messaged me and proposed to start a band together with Noktal, since they had been acquainted before. As soon as I saw the vision that Noktal had for the soon-to-be band, I was immediately interested. So we joined forces and formed Krummholz.

Can you give me some background on Noktal, I can’t find anything as for where he is from, in which band he played etc.?

Noktal is from Djibouti, but he’s currently in the US. He’s been in multiple bands before, but he can provide more insight on that than I can.

Krummholz seems to have rapidly become your main focus. How does it relate to your Nelecc project and how did you get in touch with Naturmacht Productions, a fantastic label in my opinion?

Well, it would be a bit of a stretch to say that I have a main focus quite honestly. This is because you never know when inspiration is going to strike. So most times, I’ll find myself writing for Krummholz and Nelecc back and forth. Victor was able to get in touch in me because of my work in Nelecc, so there will always be a little bit of Nelecc in Krummholz: not in the sound, not in the lyrics, not in the themes, but in spirit.

Robert, of Naturmacht reached out to us and said that he really liked our sound and offered us a deal. It’s a great label, and we were thrilled to sign with him. The roster is incredible, and the commitment to his artists is real.

What future plans do you have for Nelecc and for Krummholz?

Writing and recording for the new Nelecc album that I’m hoping to release this year is more than halfway done, and the writing process for the debut Krummholz FL album is currently underway. We can’t wait to show everyone what we are brewing when it’s done.

If you had to compare Nelecc to a dish, a type of food, what would it be and why?

Rice and beans without a doubt, haha. This is because I AM rice and beans.

Underground Sounds: Meslamtaea – Niets en Niemandal

Label: Heidens Hart
Band: Meslamtaea
Origin: Netherlands
Some more bubblings from the Dutch black metal sewers here with the new release by Meslamtaea. Out on Heidens Hart records, this is the second release by the band, who have gone through a mild transformation in between their two releases. ‘Niets en Niemandal’ seems to hint at the destruction humankind is wreaking upon this world. Perhaps as urgent as ever for a band that is drawn towards the past.
The duo both play in Asgrauw and have done a split with that band, but also two with legendary Dutch black metallers Cultus. All in all, that makes it easy to place them in the right corner between forward-thinking and essentialist black metal under this banner. And that’s pretty much what you get on this record.
Spoken-word, thunderous preaching opens up ‘Neonschemering’, which ads that post-apocalyptic vibe to some traditional themes. The firebrand vocals are as doomy and gloomy as well, summoning the dark. Yet a little more mellow is also an option on ‘Weer een dag’. Overall there’s a nostalgia, a yearning, that is captured in the sound of Meslamtaea. The tremolo riffing just stick to that minor note and even though it’s played fast, it creates a languid feeling.
At times the riffing really takes a slow, clingy vibe, like on ‘Leegte’. The reverberation feels like a thick summer air, where you can almost feel like you move through mud. Loss, confusion, it’s all there. ‘Verlaten Stad’ is another notable tune, thanks to its thick, layered riffing. But it also has some simple music, almost melancholic Americana going as an intermission. For some strange reason, that works extremely well for me. It then fills, swells and becomes again the song that it was. It’s beautiful.
The strange ‘Vervreemdingszone’ is then the outro, taking us out of the song with strange, dissonant sounds. It leaves you a bit confused. But I think, in a good way.

Underground Sounds: Mystifier – Protogoni Mavri Magiki Dynasteia

Label: Season of Mist Underground Activists
Band: Mystifier
Origin: Brazil

Mystifier is one of the originals, one of the first bands to play what we now call black metal in their very own, distinct way. All the way in Brazil nonetheless, a country known for its vibrant extreme metal scene. Never shy to voice their opinions, the band took an anti-right stance in their early days and not much has changed in any part of their approach, ethically and musically.

For the last 18 years, however, Mystifier was quiet on the creative front. A box set and compilation were released, but their fifth full length took a long time to make. ‘Protogoni Mavri Magiki Dynasteia’ is finally here and offers those who love traditional black/death metal a tasty slice. Under the guidance of founding member Beelzeebubth, the band is going to war again. I saw them play in Tilburg, they were awesome! I have to mention Paolo Girardi, the legendary album cover producer. He made a piece that captures the cavernous, occult nature of the album very well.

The opening title track has something very remarkable to mention and that’s guest vocals from Proscriptor McGovern from Absu and Jim Mutilator from Rotting Christ. The second has not done much music in… forever. It leads to a dark invocation, with slow music and a fantastic vocal interplay. ‘Weighing Heart Symphony’ stays in the mumbling, ceremonial vibe, but also blasts some waves of tremolo guitar work in between the theatric interactions in the dark cave of Mystifier’s music. Melodic parts bounce off the walls with a lot of reverb as rackety vocals resound. I love how the vocals create this weird atmosphere and otherworldliness. Take ‘ Witching Lycanthropic Moon’, where the unearthly rasps and ambient sounds make you feel to have landed in an evil world, with a gibbering moon.

There’s definitely a sense of barbarism to the record, where the drums, bass, and guitars are purposely pronounced. At times, they hardly seem to work together in weaving the songs and go in their own ways. As the vocals and bass go into a doomy break on ‘Six Towers of Belial’s Path’,  drums are like an anxious reminder of speed and intensity just there. But that’s exactly what works so well for Mystifier, their approach to black metal is almost tribal, expressionistic and I would argue a kind of storytelling. Rarely do they simply blast you with riffs, but heavy metal licks spruce up the flavor of the whole instead. The pace may be slow on tracks such as ‘Demoler Las Torres Del Cielo’, the explosive force of demonic winds is just one breath away it seems as the band launches into brief salvo’s throughout the song.

As the album comes to a close, you get pummeled around the head by  ‘Al Nakba (666 Days of War)’. Sure, there’s a tasty guitar lick, but most is repetitive violence. The title shares some political engagement with the Palestinian cause, but it’s also a damn good track. Similarly, the feisty ‘Chiesa Dei Bambini Molesta’ is a piece of force and that means the album ends on a high note. Let these Brazilians not take too long for their next offering!

Underground Sounds: Grey Aura – 2: De Bezwijkende Deugd

Label: Tartarus Records
Band: Grey Aura
Origin: Netherlands

Grey Aura kind of dazzled me with their first release, which I reviewed for Echoes & Dust. The record series is based on a book, created by singer Ruben Wijlacker’s novel De Protodood in Zwarte Haren (The Proto-dead in Black Hair). The records are full of references to cultural pillars like Malevich, the De Stijl movement and this time in title with ‘ 2: De Bezwijkende Deugd’ also Gustave Flaubert.

Other references we read about in the bio are Rimbaud, Bataille, and Kandinsky. The record is also filled with field recordings and spoken word dialogues, done by professional voice actors. These complex efforts towards the narrative of the record are particularly noteworthy and grant Grey Aura an aura of the artistic and complex, which is reflected in their expressive live shows (which I enjoyed witnessing during the 2019 Roadburn festival).
The intro is a dialogue, spoken in terse, serious tones before we launch into ‘De onnoemelijke verleidelijkheid van de bezwijkende deugd’. The vocals of Wijlakker are something to experience, as they rip asunder any black metal cliché. He screams, bellows and then hoarsely speaks as a man lost to the listener as odd rhythms and sounds enter the song and transfigure it into something completely different.
Grey Aura doesn’t shun stepping far over their genre boundaries, as done on ‘Parijs is een portaal’.  Mild Spanish guitar and a jazzy, fresh rhythm evoke the vibe of the Parisian nights. We even get some polka rhythm on ‘De Drenkeling’ a moment later, while the lyrics take the overhand in telling us the story,  which you can find on the Bandcamp page in a more elaborate form. This grand canvas behind the record is what makes it all stick together, even if you don’t know about it. That is the absolute strength of this record in my opinion. It’s internal coherence and consistent delivery of surprising tunes. As you hit ‘Sierlijke Schaduwmond’ little remains, but gentle jazzy music and spoken poetry. Captivating, mesmerizing and enthralling the listener with occasional screams of fury and anguish.
The play ends with ‘De Drenkeling’, a spiraling song of despair, ending in a rigorous march with a fatalistic edge. Marching into the sea, into doom. What will follow?

Underground Sounds: Woest – Le Grouffe

Label: Independent
Band: Woest
Origin: France

You’d think the mood would be sunnier on the Côte d’Azur in France, but Woest is a band which sounds particularly dark. Hailing from Marseille, the trio, takes their honey from the likes of Mysticum, Blacklodge and Aborym. Yet they sound like their very own type of beast on latest release ‘Le Grouffe’. That translates as ‘The Abyss’ by the way.

Woest has been around since 2016 and has been quite prolific with two released this far. Both sound dense and oppressive, but definitely strong. Their main pitfall might be that they sing in French, yet by supplying English lyrics they kind of tackle that issue and judging by this release, that should be no issue. It’s an absolute killer record, unique sounding and particularly distinctive in this day and age.

The intro ‘Éveil’ is a peculiar reminder of the Mayhem classic as this martial ambient track. It shows a little of what direction Woest has turned to on their new album. And that is a direction that is more industrial, more direct and punishing as is instantly clear on title track ‘Le Gouffre’. The drumming is crushing, pneumatic and reminds me a bit of the Mysticum live shows. Absolutely terrific, as are the joint chants.

Yet, songs like ‘Ô vide éternel’ also have that hatchet, militant sound of the later Satyricon. Threatening, but not in a figurative sense. It’s close, in your face in all intensity. At the same time, there’s so much happening. It’s an exciting narrative on ‘À la gloire de l’immonde’ with interactive vocals, intensifying rhythms and an overall sense of grandeur. The computerized drums have to be something you can get behind though, it has to be said. If you’re a sucker for the traditional bashing, you’ll likely enjoy ‘Spasme de haine’ slightly less. We move onwards to the ‘Tous restera carbone’ and ‘Vagues de Styx’, which carry a steady pace and even mellow sound due to the synths. The vocals are ghoulish, but very in opposition to the haggard emulation of a string section. his is hardly extreme, yet it’s a singular point of rest in an otherwise intense album.

Woest does something remarkable in a stale scene with ‘Le Grouffe’. You should probably listen to it.