#osmoseproductions — Public Fediverse posts

Sanctvs – De l’Abîme au Plérôme Review

You might, as I did, roll your eyes humorously at the recurrence of the “‘v’ as ‘u’” trope…
#NewsBeep #News #Music #2.5 #2026 #BlackMetal #BlutAusNord #CA #Canada #CanadianMetal #Del'AbîmeauPlérôme #Entertainment #Gevurah #Jan26 #MelodicBlackMetal #OsmoseProductions #review #reviews #Sanctvs #Woe
https://www.newsbeep.com/ca/497512/

Aus Gründen...

Album Of The Day:

IMMORTAL - 'Battles In The North' (1995) by @immortalofficial & @osmoseproductions

#linsedunemanninen
#blackmetal
#osmoseproductions
#immortal
#compactdisckid
https://www.instagram.com/p/DUNzUDbjFrF/?igsh=dXVqazh5eXVlNGxx

Gjendød – Svekkelse Review

By Grin Reaper

In a genre defined by trem-picking, unbridled shrieks, and lo-fi, treble-heavy production, Gjendød challenges a paradigm long synonymous with black metal—no bass, no problem. Though unabashedly black metal, Gjendød offers an alternative to typical second-wave stylings while still being recognizably influenced by them. Svekkelse is Gjendød’s sixth LP since founding duo K and KK joined forces in 2015. After releasing I Utakt med Verden in 2022, the Trondheim, Norway twosome enlisted drummer TK1 and Gjendød signed with Osmose Productions. These developments gave listeners 2024’s Livskramper and now Svekkelse. Both albums buck some of the musical stereotypes rife within the genre, yet it takes more than subverting expectations to write an estimable record. Is Gjendød up to the task?

The elements of Gjendød’s sound have been around since the band’s inception, with melodic leads and prominent bass strewn throughout their discography. But things didn’t crystallize until Livskramper, where Gjendød upped their commitment to melody, and the production took a step forward. Svekkelse continues the work Livskramper began. Bassist and vocalist KK’s gargles flirt with early Satyricon, which compounds with the bass-laden mix recalling The Shadowthrone. Musically, Gorgoroth’s Antichrist provides another point of comparison, although KK’s vocals won’t be mistaken for Hat’s croaks. Either way, those illustrious parallels give a suggestion of what to expect, though don’t go into Svekkelse anticipating a reproduction of either. What Gjendød has assembled is a vision all their own.

With dynamic guitar leads, sultry bass grooves, and proficient stickwork, Gjendød has no room for slouches. Every time I spin Svekkelse, it’s all about that bass. It’s so present in the mix that it’s impossible not to be entranced. Though bass is present throughout the album, opener “Likens bortgang” sets strong expectations. And when the pace slows in “En staur i hjertet,” the bass ambles out the gates to carry the melody with trem-picked chords underpinning blackened rasps. It would all be for naught if the bass-playing wasn’t accomplished enough to merit the spotlight. In this regard, KK does not disappoint, as bass lines slink with groovy, understated elegance. Gjendød’s talent isn’t limited to four-string heft,2 though, as guitarist K does a swell job through Svekkelse’s forty-two minutes. The tremolos are well-executed but standard black metal fare, and he spices things up with calculated whammy abuse (“Likens bortgang”), inducing surf-rock flavors when employed. K also tucks some nifty solos into Svekkelse, my personal favorite being in “Maktens sødme,” and occasionally inhabits skronky Voivodian territory (“Maktens sødme,” “En elv av kjøtt”). Rounding out the trio, drummer TK braces the band ably and unobtrusively, and while there’s no show-stopping kit work, the music never flags or sags for lack of a rhythmic cornerstone.

Churning out an album in a year is no mean feat, but more time between releases could have helped address the nagging issues holding Svekkelse back. Final track “Den falske råte” is a nasty, seven-minute ode to Norwegian black metal fury. It captures that sound well, but doesn’t connect with the preceding songs enough. Dropping it and pushing “En staur i hjertet” to the end would have made the album tighter, more consistent, and still allowed for a sprawling conclusion with sufficient gravity. Also, while there aren’t any bad songs on Svekkelse, the quality dips in the back half. Specifically, mid-paced sections muck with the overall flow, and the songs aren’t quite as memorable, making for a front-loaded listen. Despite these reservations, Gjendød delivers a success. While a high DR score isn’t a guarantee, the mix and master on Svekkelse are superb, deftly blending raw guitar and vocals with smooth, buttery bass. In total, there’s a lot to like.

Gjendød’s latest imparts a groovy twist on black metal in a one-sitting dose, which is better than a fair number of albums I’ve listened to this year. While Svekkelse won’t list for me, I expect I’ll return to it when I hear other promising black metal albums deficient in vitamin bass. Gjendød has defined a trademark sound, and with a little more attention to honing their songcraft, their next album could be something special. As it stands, Gjendød are on the cusp of something better, but after several listens, I’m not entirely convinced. Regardless, I’m invested in the evolution of their sound and excited to hear where they take things next.

Rating: Good!
DR: 10 | Format Reviewed: 320 kpbs mp3
Label: Osmose Productions
Website: Facebook
Releases Worldwide: September 26th, 2025

#2025 #30 #BlackMetal #Gjendød #Gorgoroth #MelodicBlackMetal #NorwegianMetal #Osmose #OsmoseProductions #Review #Reviews #Satyricon #Sep25 #Svekkelse #Voivod

Urn – Demon Steel Review

By Mark Z.

As a U.S. government employee, I’ve spent way too much time lately thinking about RIFs and not enough time thinking about riffs. Fortunately, Finland’s Urn is here to change that. Helmed by vocalist, bassist, and former guitarist Jarno Hämäläinen (a.k.a. “Sulphur”), this black/thrash troupe raised hell throughout the 2000s via albums like 666 Megatons and Dawn of the Devastation, both of which blasted with reckless abandon and hit with all the subtlety of a hand grenade. After years of silence following 2008’s Soul Destroyers, the group returned with a revamped lineup and more melodic sound on 2017’s The Burning, resulting in a rousing collection of blackened thrash anthems that was bogged down a bit by songwriting that often felt too cut-and-paste. With 2019’s Iron Will of Power, another revamped lineup helped Sulphur better combine the group’s newfound melodic tendencies and more raucous sensibilities, making for a career-high that sounded like the forgotten little brother of Deströyer 666. On their sixth album, Demon Steel, Urn returns after six years to continue down that same path, mixing the black/thrash of yore with melodies even a folk metal fan could enjoy. But have they taken things too far?

FUKK NO! Rather, Demon Steel is one of those rare late-career albums that shows an extreme band maturing into something more complex, interesting, and catchy, all while still remaining vicious enough to satisfy those poser-crushers in our midst. The basic sound here largely remains the same: frantic and rushing guitars combined with fast and pummeling drums, tossed together with snarled vocals and a sense of epic fury. The soaring melodies that often appeared in the choruses of Iron Will remain; yet here, the addition of a second guitarist has allowed Urn to craft compositions that are more intricate than ever. Early highlight “Are You Friends With Your Demons” proves that it needs neither a question mark nor a decent title to succeed, commanding attention with the layered guitars of its chorus and the supreme melody that appears after that refrain’s second and third iteration.

And fortunately, plenty of the other nine tracks are just as strong. “Heir of Tyrants,” “Burning Blood’s Curse,” and “Ruthless Paranoia” offer perhaps the best example of Urn’s heightened maturity, as each song combines fierce riffing worthy of Aura Noir with sugary lead guitars that could have appeared on a Children of Bodom album. Turning the throttle further into overdrive, “Iron Star” and “Turbulence of Misanthropy” charge forward on bouts of galloping, heavy-as-fuck riffs that sound like Iron Maiden dipped in molten steel, with the latter even offering some melodic black metal moments that recall Dissection. Even the album’s introduction, “Retribution of the Dead,” is a winner, creating an effective buildup with immense chords, pounding drums, and snarls of “Rise!”

Overall, there’s little to complain about here. In addition to delivering plenty of swirling solos, returning guitarist “Axeleratörr” works alongside new axeman “Pestilent Slaughter” to absolutely stuff these 44 minutes with great ideas, resulting in a record that probably contains more unique leads and riffs than the band’s first two albums combined. Sulphur once again sounds venomous and commanding, though perhaps a bit more croaky and aged than before. That doesn’t stop him from pushing himself, however, by embellishing songs like “Wings of Inferno” and “Heir of Tyrants” with powerful clean wails that make things feel extra mighty. The only real downside is that, with every track trying to be a big epic fist-raiser, things get a tad tiresome eventually. The closer, “Predator of Spiritforms,” feels a bit overshadowed by its predecessors, and while the mid-paced stomp of “Wings of Inferno” offers a bit of late-album variety, I’d still love to have just one straight-ahead rager in the second half. Fortunately, the production is great, with a clear, balanced, and powerful sound that emphasizes the crystalline leads while giving the riffs plenty of bite.

It’s been exciting to watch Urn grow from a pretty basic black/thrash band to one of the few older groups left in the style still producing worthwhile music. While I’ll always love the hammering and explosive sound of their early stuff, Demon Steel shows the band crafting songs that are more exciting, memorable, and well-written than anything they’ve done before. The result is a truly fantastic release that’s sure to please everyone from diehard Desaster fans to casual blogreaders just looking for some good fukkin music to distract themselves from all the bullshit out there today. Push play, crank that volume, and BANG YOUR FUKKIN HEADS!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions | Bandcamp
Websites: facebook.com/urnofficial | instagram.com/urnmetal
Releases Worldwide: March 28th, 2025

#2025 #40 #AuraNoir #BlackMetal #ChildrenOfBodom #DemonSteel #Desaster #Destroyer666 #Dissection #FinnishMetal #IronMaiden #Mar25 #OsmoseProductions #Review #Reviews #ThrashMetal #Urn

Urn – Demon Steel Review

By Mark Z.

As a U.S. government employee, I’ve spent way too much time lately thinking about RIFs and not enough time thinking about riffs. Fortunately, Finland’s Urn is here to change that. Helmed by vocalist, bassist, and former guitarist Jarno Hämäläinen (a.k.a. “Sulphur”), this black/thrash troupe raised hell throughout the 2000s via albums like 666 Megatons and Dawn of the Devastation, both of which blasted with reckless abandon and hit with all the subtlety of a hand grenade. After years of silence following 2008’s Soul Destroyers, the group returned with a revamped lineup and more melodic sound on 2017’s The Burning, resulting in a rousing collection of blackened thrash anthems that was bogged down a bit by songwriting that often felt too cut-and-paste. With 2019’s Iron Will of Power, another revamped lineup helped Sulphur better combine the group’s newfound melodic tendencies and more raucous sensibilities, making for a career-high that sounded like the forgotten little brother of Deströyer 666. On their sixth album, Demon Steel, Urn returns after six years to continue down that same path, mixing the black/thrash of yore with melodies even a folk metal fan could enjoy. But have they taken things too far?

FUKK NO! Rather, Demon Steel is one of those rare late-career albums that shows an extreme band maturing into something more complex, interesting, and catchy, all while still remaining vicious enough to satisfy those poser-crushers in our midst. The basic sound here largely remains the same: frantic and rushing guitars combined with fast and pummeling drums, tossed together with snarled vocals and a sense of epic fury. The soaring melodies that often appeared in the choruses of Iron Will remain; yet here, the addition of a second guitarist has allowed Urn to craft compositions that are more intricate than ever. Early highlight “Are You Friends With Your Demons” proves that it needs neither a question mark nor a decent title to succeed, commanding attention with the layered guitars of its chorus and the supreme melody that appears after that refrain’s second and third iteration.

And fortunately, plenty of the other nine tracks are just as strong. “Heir of Tyrants,” “Burning Blood’s Curse,” and “Ruthless Paranoia” offer perhaps the best example of Urn’s heightened maturity, as each song combines fierce riffing worthy of Aura Noir with sugary lead guitars that could have appeared on a Children of Bodom album. Turning the throttle further into overdrive, “Iron Star” and “Turbulence of Misanthropy” charge forward on bouts of galloping, heavy-as-fuck riffs that sound like Iron Maiden dipped in molten steel, with the latter even offering some melodic black metal moments that recall Dissection. Even the album’s introduction, “Retribution of the Dead,” is a winner, creating an effective buildup with immense chords, pounding drums, and snarls of “Rise!”

Overall, there’s little to complain about here. In addition to delivering plenty of swirling solos, returning guitarist “Axeleratörr” works alongside new axeman “Pestilent Slaughter” to absolutely stuff these 44 minutes with great ideas, resulting in a record that probably contains more unique leads and riffs than the band’s first two albums combined. Sulphur once again sounds venomous and commanding, though perhaps a bit more croaky and aged than before. That doesn’t stop him from pushing himself, however, by embellishing songs like “Wings of Inferno” and “Heir of Tyrants” with powerful clean wails that make things feel extra mighty. The only real downside is that, with every track trying to be a big epic fist-raiser, things get a tad tiresome eventually. The closer, “Predator of Spiritforms,” feels a bit overshadowed by its predecessors, and while the mid-paced stomp of “Wings of Inferno” offers a bit of late-album variety, I’d still love to have just one straight-ahead rager in the second half. Fortunately, the production is great, with a clear, balanced, and powerful sound that emphasizes the crystalline leads while giving the riffs plenty of bite.

It’s been exciting to watch Urn grow from a pretty basic black/thrash band to one of the few older groups left in the style still producing worthwhile music. While I’ll always love the hammering and explosive sound of their early stuff, Demon Steel shows the band crafting songs that are more exciting, memorable, and well-written than anything they’ve done before. The result is a truly fantastic release that’s sure to please everyone from diehard Desaster fans to casual blogreaders just looking for some good fukkin music to distract themselves from all the bullshit out there today. Push play, crank that volume, and BANG YOUR FUKKIN HEADS!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions | Bandcamp
Websites: facebook.com/urnofficial | instagram.com/urnmetal
Releases Worldwide: March 28th, 2025

#2025 #40 #AuraNoir #BlackMetal #ChildrenOfBodom #DemonSteel #Desaster #Destroyer666 #Dissection #FinnishMetal #IronMaiden #Mar25 #OsmoseProductions #Review #Reviews #ThrashMetal #Urn

Urn – Demon Steel Review

By Mark Z.

As a U.S. government employee, I’ve spent way too much time lately thinking about RIFs and not enough time thinking about riffs. Fortunately, Finland’s Urn is here to change that. Helmed by vocalist, bassist, and former guitarist Jarno Hämäläinen (a.k.a. “Sulphur”), this black/thrash troupe raised hell throughout the 2000s via albums like 666 Megatons and Dawn of the Devastation, both of which blasted with reckless abandon and hit with all the subtlety of a hand grenade. After years of silence following 2008’s Soul Destroyers, the group returned with a revamped lineup and more melodic sound on 2017’s The Burning, resulting in a rousing collection of blackened thrash anthems that was bogged down a bit by songwriting that often felt too cut-and-paste. With 2019’s Iron Will of Power, another revamped lineup helped Sulphur better combine the group’s newfound melodic tendencies and more raucous sensibilities, making for a career-high that sounded like the forgotten little brother of Deströyer 666. On their sixth album, Demon Steel, Urn returns after six years to continue down that same path, mixing the black/thrash of yore with melodies even a folk metal fan could enjoy. But have they taken things too far?

FUKK NO! Rather, Demon Steel is one of those rare late-career albums that shows an extreme band maturing into something more complex, interesting, and catchy, all while still remaining vicious enough to satisfy those poser-crushers in our midst. The basic sound here largely remains the same: frantic and rushing guitars combined with fast and pummeling drums, tossed together with snarled vocals and a sense of epic fury. The soaring melodies that often appeared in the choruses of Iron Will remain; yet here, the addition of a second guitarist has allowed Urn to craft compositions that are more intricate than ever. Early highlight “Are You Friends With Your Demons” proves that it needs neither a question mark nor a decent title to succeed, commanding attention with the layered guitars of its chorus and the supreme melody that appears after that refrain’s second and third iteration.

And fortunately, plenty of the other nine tracks are just as strong. “Heir of Tyrants,” “Burning Blood’s Curse,” and “Ruthless Paranoia” offer perhaps the best example of Urn’s heightened maturity, as each song combines fierce riffing worthy of Aura Noir with sugary lead guitars that could have appeared on a Children of Bodom album. Turning the throttle further into overdrive, “Iron Star” and “Turbulence of Misanthropy” charge forward on bouts of galloping, heavy-as-fuck riffs that sound like Iron Maiden dipped in molten steel, with the latter even offering some melodic black metal moments that recall Dissection. Even the album’s introduction, “Retribution of the Dead,” is a winner, creating an effective buildup with immense chords, pounding drums, and snarls of “Rise!”

Overall, there’s little to complain about here. In addition to delivering plenty of swirling solos, returning guitarist “Axeleratörr” works alongside new axeman “Pestilent Slaughter” to absolutely stuff these 44 minutes with great ideas, resulting in a record that probably contains more unique leads and riffs than the band’s first two albums combined. Sulphur once again sounds venomous and commanding, though perhaps a bit more croaky and aged than before. That doesn’t stop him from pushing himself, however, by embellishing songs like “Wings of Inferno” and “Heir of Tyrants” with powerful clean wails that make things feel extra mighty. The only real downside is that, with every track trying to be a big epic fist-raiser, things get a tad tiresome eventually. The closer, “Predator of Spiritforms,” feels a bit overshadowed by its predecessors, and while the mid-paced stomp of “Wings of Inferno” offers a bit of late-album variety, I’d still love to have just one straight-ahead rager in the second half. Fortunately, the production is great, with a clear, balanced, and powerful sound that emphasizes the crystalline leads while giving the riffs plenty of bite.

It’s been exciting to watch Urn grow from a pretty basic black/thrash band to one of the few older groups left in the style still producing worthwhile music. While I’ll always love the hammering and explosive sound of their early stuff, Demon Steel shows the band crafting songs that are more exciting, memorable, and well-written than anything they’ve done before. The result is a truly fantastic release that’s sure to please everyone from diehard Desaster fans to casual blogreaders just looking for some good fukkin music to distract themselves from all the bullshit out there today. Push play, crank that volume, and BANG YOUR FUKKIN HEADS!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions | Bandcamp
Websites: facebook.com/urnofficial | instagram.com/urnmetal
Releases Worldwide: March 28th, 2025

#2025 #40 #AuraNoir #BlackMetal #ChildrenOfBodom #DemonSteel #Desaster #Destroyer666 #Dissection #FinnishMetal #IronMaiden #Mar25 #OsmoseProductions #Review #Reviews #ThrashMetal #Urn

Urn – Demon Steel Review

By Mark Z.

As a U.S. government employee, I’ve spent way too much time lately thinking about RIFs and not enough time thinking about riffs. Fortunately, Finland’s Urn is here to change that. Helmed by vocalist, bassist, and former guitarist Jarno Hämäläinen (a.k.a. “Sulphur”), this black/thrash troupe raised hell throughout the 2000s via albums like 666 Megatons and Dawn of the Devastation, both of which blasted with reckless abandon and hit with all the subtlety of a hand grenade. After years of silence following 2008’s Soul Destroyers, the group returned with a revamped lineup and more melodic sound on 2017’s The Burning, resulting in a rousing collection of blackened thrash anthems that was bogged down a bit by songwriting that often felt too cut-and-paste. With 2019’s Iron Will of Power, another revamped lineup helped Sulphur better combine the group’s newfound melodic tendencies and more raucous sensibilities, making for a career-high that sounded like the forgotten little brother of Deströyer 666. On their sixth album, Demon Steel, Urn returns after six years to continue down that same path, mixing the black/thrash of yore with melodies even a folk metal fan could enjoy. But have they taken things too far?

FUKK NO! Rather, Demon Steel is one of those rare late-career albums that shows an extreme band maturing into something more complex, interesting, and catchy, all while still remaining vicious enough to satisfy those poser-crushers in our midst. The basic sound here largely remains the same: frantic and rushing guitars combined with fast and pummeling drums, tossed together with snarled vocals and a sense of epic fury. The soaring melodies that often appeared in the choruses of Iron Will remain; yet here, the addition of a second guitarist has allowed Urn to craft compositions that are more intricate than ever. Early highlight “Are You Friends With Your Demons” proves that it needs neither a question mark nor a decent title to succeed, commanding attention with the layered guitars of its chorus and the supreme melody that appears after that refrain’s second and third iteration.

And fortunately, plenty of the other nine tracks are just as strong. “Heir of Tyrants,” “Burning Blood’s Curse,” and “Ruthless Paranoia” offer perhaps the best example of Urn’s heightened maturity, as each song combines fierce riffing worthy of Aura Noir with sugary lead guitars that could have appeared on a Children of Bodom album. Turning the throttle further into overdrive, “Iron Star” and “Turbulence of Misanthropy” charge forward on bouts of galloping, heavy-as-fuck riffs that sound like Iron Maiden dipped in molten steel, with the latter even offering some melodic black metal moments that recall Dissection. Even the album’s introduction, “Retribution of the Dead,” is a winner, creating an effective buildup with immense chords, pounding drums, and snarls of “Rise!”

Overall, there’s little to complain about here. In addition to delivering plenty of swirling solos, returning guitarist “Axeleratörr” works alongside new axeman “Pestilent Slaughter” to absolutely stuff these 44 minutes with great ideas, resulting in a record that probably contains more unique leads and riffs than the band’s first two albums combined. Sulphur once again sounds venomous and commanding, though perhaps a bit more croaky and aged than before. That doesn’t stop him from pushing himself, however, by embellishing songs like “Wings of Inferno” and “Heir of Tyrants” with powerful clean wails that make things feel extra mighty. The only real downside is that, with every track trying to be a big epic fist-raiser, things get a tad tiresome eventually. The closer, “Predator of Spiritforms,” feels a bit overshadowed by its predecessors, and while the mid-paced stomp of “Wings of Inferno” offers a bit of late-album variety, I’d still love to have just one straight-ahead rager in the second half. Fortunately, the production is great, with a clear, balanced, and powerful sound that emphasizes the crystalline leads while giving the riffs plenty of bite.

It’s been exciting to watch Urn grow from a pretty basic black/thrash band to one of the few older groups left in the style still producing worthwhile music. While I’ll always love the hammering and explosive sound of their early stuff, Demon Steel shows the band crafting songs that are more exciting, memorable, and well-written than anything they’ve done before. The result is a truly fantastic release that’s sure to please everyone from diehard Desaster fans to casual blogreaders just looking for some good fukkin music to distract themselves from all the bullshit out there today. Push play, crank that volume, and BANG YOUR FUKKIN HEADS!

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Osmose Productions | Bandcamp
Websites: facebook.com/urnofficial | instagram.com/urnmetal
Releases Worldwide: March 28th, 2025

#2025 #40 #AuraNoir #BlackMetal #ChildrenOfBodom #DemonSteel #Desaster #Destroyer666 #Dissection #FinnishMetal #IronMaiden #Mar25 #OsmoseProductions #Review #Reviews #ThrashMetal #Urn

Filii Nigrantium Infernalium – Pérfida Contracção do Aço Review

By GardensTale

I’ve been doing this opinion-spewing thing long enough that I’m starting to forget some of my reviews, where even reading the prose I wrote myself is like reading someone else’s. However, this fate will not befall Filii Nigrantium Infernalium. Over 6 years since I wrote up Hóstia, two things still stand out in my mind like burning neon signs: the ludicrously, hilariously offensive cover art, and the unhinged vocals screaming the album title over infectious blackened heavy/thrash. Finally, the Portuguese have risen from their slumber once more, and one look at the album art suggests they haven’t given up on their quest to sweep the ‘offensive cover art’ awards.

Pérfida Contracção do Aço largely continues where Hóstia left off. A wild wail kicks off the blistering “Beata Fornicanda,” where the first wave black metal holds the most sway. Filii Nigrantium Infernalium’s mission statement is written in raging blastbeats and trilling melodic leads; fucking shit up in very short order. Yet it’s quickly clear that some screws have been tightened and rattling bolts fastened compared to Hóstia. The hoarse howling vocals remain every bit as insane, but the musicianship is more precise and more diverse, leaning less on sheer speed and madness to carry the music over any speedbumps. The pacing doesn’t get much higher than “Beata,” though barn-burner “Cristo.Rei.Animal.” certainly tries. But the other uptempo compositions like “Negros Hábitos” and ” Holocausto Molto Vivace Ma Non Troppo” thrive on the strength of the catchy thrash riffs. The title track even employs a diverse, almost progressive composition full of tempo changes both fast and slow, but never getting boring or tedious.

And that’s not the only curveball on Pérfida. “Comes Carne” announces itself with ominous horns and strings like an orchestra from Hell before it begins flipping between Black Sabbath doom and Hellripper destruction. Belathauzer’s vocals don’t lose any of their weird, twisted allure when the bpm plummets, taking on a more haunting quality like an insane priest. But this is taken to the next level with “Vaticanale,” the 10-minute penultimate epic. Repeating stanzas of simple mid-paced riffs gradually incorporate choirs, clarions, and chants until it is spun into a resplendent storm of blasphemy that would make Behemoth blush. Frankly, I would not have expected the same band that made the ramshackle Hóstia to be capable of a buildup so subtle yet effective, and it shows Filii Nigrantium Infernalium is not done growing as artists.

With growth come growing pains though, though the pangs are gentle. I love the buildup of “Vaticanale,” but it does take a long time to start properly building, and cutting down on waiting time at the start would have conserved more momentum. Furthermore, whilst I enjoy the more experimental material in the back half, its simpler tracks are a step down from their catchier and more engaging cousins from the front. A bit of a shuffle in the tracklist to improve the flow and consistency would be a welcome improvement. But these all seem barely worth mentioning, especially when all the small yet significant steps made include a really rather delicious production that balances rawness with fidelity and gives a lot of room to the sweet punky bass.

Filii Nigrantium Infernalium plays by its own rules. Once again the cover art is a study in ugliness, the album name has become even more complicated than the band name, and the vocals will put half the prospective listeners off on the first spin. But there is a ton of musical talent underneath this veneer of insanity, and though the improvements are incremental, Pérfida Contracção do Aço successfully refines and adjusts an already energetic and addictive formula. At this rate, it’s gonna turn real lethal, real damn soon.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Osmose Productions
Websites: filiinigrantiuminfernalium.bandcamp.com/album/p-rfida-contrac-o-do-a-o | facebook.com/FiliiNigrantiumInfernalium
Releases Worldwide: November 29th, 2024

#2024 #35 #Behemoth #BlackMetal #BlackSabbath #FiliiNigrantiumInfernalium #HeavyMetal #Hellripper #Nov24 #OsmoseProductions #PérfidaContracçãoDoAço #PortugueseMetal #Review #Reviews #ThrashMetal

Filii Nigrantium Infernalium – Pérfida Contracção do Aço Review

By GardensTale

I’ve been doing this opinion-spewing thing long enough that I’m starting to forget some of my reviews, where even reading the prose I wrote myself is like reading someone else’s. However, this fate will not befall Filii Nigrantium Infernalium. Over 6 years since I wrote up Hóstia, two things still stand out in my mind like burning neon signs: the ludicrously, hilariously offensive cover art, and the unhinged vocals screaming the album title over infectious blackened heavy/thrash. Finally, the Portuguese have risen from their slumber once more, and one look at the album art suggests they haven’t given up on their quest to sweep the ‘offensive cover art’ awards.

Pérfida Contracção do Aço largely continues where Hóstia left off. A wild wail kicks off the blistering “Beata Fornicanda,” where the first wave black metal holds the most sway. Filii Nigrantium Infernalium’s mission statement is written in raging blastbeats and trilling melodic leads; fucking shit up in very short order. Yet it’s quickly clear that some screws have been tightened and rattling bolts fastened compared to Hóstia. The hoarse howling vocals remain every bit as insane, but the musicianship is more precise and more diverse, leaning less on sheer speed and madness to carry the music over any speedbumps. The pacing doesn’t get much higher than “Beata,” though barn-burner “Cristo.Rei.Animal.” certainly tries. But the other uptempo compositions like “Negros Hábitos” and ” Holocausto Molto Vivace Ma Non Troppo” thrive on the strength of the catchy thrash riffs. The title track even employs a diverse, almost progressive composition full of tempo changes both fast and slow, but never getting boring or tedious.

And that’s not the only curveball on Pérfida. “Comes Carne” announces itself with ominous horns and strings like an orchestra from Hell before it begins flipping between Black Sabbath doom and Hellripper destruction. Belathauzer’s vocals don’t lose any of their weird, twisted allure when the bpm plummets, taking on a more haunting quality like an insane priest. But this is taken to the next level with “Vaticanale,” the 10-minute penultimate epic. Repeating stanzas of simple mid-paced riffs gradually incorporate choirs, clarions, and chants until it is spun into a resplendent storm of blasphemy that would make Behemoth blush. Frankly, I would not have expected the same band that made the ramshackle Hóstia to be capable of a buildup so subtle yet effective, and it shows Filii Nigrantium Infernalium is not done growing as artists.

With growth come growing pains though, though the pangs are gentle. I love the buildup of “Vaticanale,” but it does take a long time to start properly building, and cutting down on waiting time at the start would have conserved more momentum. Furthermore, whilst I enjoy the more experimental material in the back half, its simpler tracks are a step down from their catchier and more engaging cousins from the front. A bit of a shuffle in the tracklist to improve the flow and consistency would be a welcome improvement. But these all seem barely worth mentioning, especially when all the small yet significant steps made include a really rather delicious production that balances rawness with fidelity and gives a lot of room to the sweet punky bass.

Filii Nigrantium Infernalium plays by its own rules. Once again the cover art is a study in ugliness, the album name has become even more complicated than the band name, and the vocals will put half the prospective listeners off on the first spin. But there is a ton of musical talent underneath this veneer of insanity, and though the improvements are incremental, Pérfida Contracção do Aço successfully refines and adjusts an already energetic and addictive formula. At this rate, it’s gonna turn real lethal, real damn soon.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Osmose Productions
Websites: filiinigrantiuminfernalium.bandcamp.com/album/p-rfida-contrac-o-do-a-o | facebook.com/FiliiNigrantiumInfernalium
Releases Worldwide: November 29th, 2024

#2024 #35 #Behemoth #BlackMetal #BlackSabbath #FiliiNigrantiumInfernalium #HeavyMetal #Hellripper #Nov24 #OsmoseProductions #PérfidaContracçãoDoAço #PortugueseMetal #Review #Reviews #ThrashMetal

Filii Nigrantium Infernalium – Pérfida Contracção do Aço Review

By GardensTale

I’ve been doing this opinion-spewing thing long enough that I’m starting to forget some of my reviews, where even reading the prose I wrote myself is like reading someone else’s. However, this fate will not befall Filii Nigrantium Infernalium. Over 6 years since I wrote up Hóstia, two things still stand out in my mind like burning neon signs: the ludicrously, hilariously offensive cover art, and the unhinged vocals screaming the album title over infectious blackened heavy/thrash. Finally, the Portuguese have risen from their slumber once more, and one look at the album art suggests they haven’t given up on their quest to sweep the ‘offensive cover art’ awards.

Pérfida Contracção do Aço largely continues where Hóstia left off. A wild wail kicks off the blistering “Beata Fornicanda,” where the first wave black metal holds the most sway. Filii Nigrantium Infernalium’s mission statement is written in raging blastbeats and trilling melodic leads; fucking shit up in very short order. Yet it’s quickly clear that some screws have been tightened and rattling bolts fastened compared to Hóstia. The hoarse howling vocals remain every bit as insane, but the musicianship is more precise and more diverse, leaning less on sheer speed and madness to carry the music over any speedbumps. The pacing doesn’t get much higher than “Beata,” though barn-burner “Cristo.Rei.Animal.” certainly tries. But the other uptempo compositions like “Negros Hábitos” and ” Holocausto Molto Vivace Ma Non Troppo” thrive on the strength of the catchy thrash riffs. The title track even employs a diverse, almost progressive composition full of tempo changes both fast and slow, but never getting boring or tedious.

And that’s not the only curveball on Pérfida. “Comes Carne” announces itself with ominous horns and strings like an orchestra from Hell before it begins flipping between Black Sabbath doom and Hellripper destruction. Belathauzer’s vocals don’t lose any of their weird, twisted allure when the bpm plummets, taking on a more haunting quality like an insane priest. But this is taken to the next level with “Vaticanale,” the 10-minute penultimate epic. Repeating stanzas of simple mid-paced riffs gradually incorporate choirs, clarions, and chants until it is spun into a resplendent storm of blasphemy that would make Behemoth blush. Frankly, I would not have expected the same band that made the ramshackle Hóstia to be capable of a buildup so subtle yet effective, and it shows Filii Nigrantium Infernalium is not done growing as artists.

With growth come growing pains though, though the pangs are gentle. I love the buildup of “Vaticanale,” but it does take a long time to start properly building, and cutting down on waiting time at the start would have conserved more momentum. Furthermore, whilst I enjoy the more experimental material in the back half, its simpler tracks are a step down from their catchier and more engaging cousins from the front. A bit of a shuffle in the tracklist to improve the flow and consistency would be a welcome improvement. But these all seem barely worth mentioning, especially when all the small yet significant steps made include a really rather delicious production that balances rawness with fidelity and gives a lot of room to the sweet punky bass.

Filii Nigrantium Infernalium plays by its own rules. Once again the cover art is a study in ugliness, the album name has become even more complicated than the band name, and the vocals will put half the prospective listeners off on the first spin. But there is a ton of musical talent underneath this veneer of insanity, and though the improvements are incremental, Pérfida Contracção do Aço successfully refines and adjusts an already energetic and addictive formula. At this rate, it’s gonna turn real lethal, real damn soon.

Rating: 3.5/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Osmose Productions
Websites: filiinigrantiuminfernalium.bandcamp.com/album/p-rfida-contrac-o-do-a-o | facebook.com/FiliiNigrantiumInfernalium
Releases Worldwide: November 29th, 2024

#2024 #35 #Behemoth #BlackMetal #BlackSabbath #FiliiNigrantiumInfernalium #HeavyMetal #Hellripper #Nov24 #OsmoseProductions #PérfidaContracçãoDoAço #PortugueseMetal #Review #Reviews #ThrashMetal

Stuck in the Filter – November/December’s Angry Misses

By Kenstrosity

It is time for the new year, and yet we spend its initial moments reflecting on works of the past. That’s because the works of the past are clogging up our damn Filter, and we need that to breathe in this hellhole we call a headquarters. We toil in the snow and the slush, freezing as the gunk clings to our definitely OSHA compliant protective suits and face masks. All so that you can maybe like but more likely dunk on the nuggets of treasure we find here.

Regardless of whether you enjoy what we find, we expect payment for our services. You can submit tithes via Venmo, Paypal, Bitcoin, hobo wine, unicorns, and/or goat sacrifices. Anything less will result in summary dismissal from the Hall!

Kenstrosity’s Heaving Husks

Void // Jadjow [December 8th, 2023 – Brucia Records]

Weird shit is my shit. Challenging albums that dare to subvert my expectations of the music held therein will always garner my respect. Enter UK avant-garde black metal outfit Void and their fourth LP Jadjow. A bizarrely short window spanned between this release and their previous record—only two years compared to eight years between albums one and two, ten between albums two and three. Despite the tight turnaround, the quality of the writing here is nothing to dismiss offhand. Opening duo “Fables From a Post-Truth Era” and “Interdaementional” showcase twisted songwriting dynamics, haunting vocals, squealing black metal riffs, woody blasts, and funky transitions. Consequently, they remind me of Ved Buens Ende, DHG, and Khôra. Yet, Void prove that the art of the riff is not lost in a sea of weirdness, throwing in headbangable themes and windmill-worthy whirlwinds left and right (“Only For You,” “Self Isolation,” “Swamp Dog”). Striking this balance between engaging hooks (“Fables From a Post-Truth Era,” “Swamp Dog”), danceable grooves (“Oduduwa’s Chain”), and intelligent songwriting dynamics (“When Lucifer Dies,” “Iniquitous Owl”) is tricky business, and yet Void take on the task with effortless grace and poise. In turn, fifty-six minutes of oddball progressive black metal fly by in a flash. You blink, you miss it. Don’t blink!

Irityll // Schlafes Bruder [November 23rd, 2023 – Self Release]

Do you ever wonder what melodic black metal would sound like if it had the same HM-2 tone as the filthiest Swedeath around? I sure never have. Yet, Vienna, Austria’s Irityll chose that exact combination to craft their debut LP, Schlafes Bruder. Comprising of two musicians with notable experience in the deathcore and brutal death metal worlds (Spire of Lazarus, Monument of Misanthropy), Irityll unexpectedly nail the icy black metal sound which defines Schlafes Bruder, but enhanced by the novel twist of an HM-2 buzzsaw tone. Ominous melodies and vicious blasting abound, as choice cuts like “Leichnam aus Überzeugung,” “Deppade Leit,” and “Sternengeiβel” all demonstrate with aplomb. Written in the same epic style of bands like Immortal or Dark Funeral, Schlafes Bruder succeeds primarily thanks to a tasty combination of minimalist drama and riff-focused intensity. The way it ebbs and flows between soft passages and ripping black metal, blistering speed and militant marches, all feels natural, effortless, and leads to satisfying payoffs across the forty-four-minute runtime (“Schlafes Bruder,” “Reiter des Sturmes,” “Epitaphion”). And yet, it feels like just the beginning for Irityll. With more refinement and tightening of the screws, the duo could take even greater advantage of their novel sound profile with more distinct, individualized songwriting. I’m excited by that prospect, and you should be too.

Dolphin Whisperer’s Unparalleled Uncoverings

Closet Witch // Chiaroscuro [November 3rd, 2023 – Zegema Beach Records]

If you’re familiar with Closet Witch already, or the closely related in sound and style Cloud Rat, then you’ll know that the brand of caustically-styled, emotionally-chiseled grind that they represent wastes no moment. Equally weighted by the slowing churns of powerviolence and piercing tones of screamo, Chiaroscuro, a name taken from the classical art technique of shadow-use/darkness contrast that creates wholeness, depth, and tone in a piece, uses each of its identities to drill eighteen minutes of caustic music to your memory. Unfortunately for newcomers or passerbys to the sonic assault that Closet Witch embodies, either the fuzz-rattled and blackened riffage, the clanging and splashing kit abuse, or the shrill and shrieking throat sacrifice build like a wall of bleeding noise. But in practice, Chiaroscuro contains an uncanny ebb and flow, finding footing in rhythmic refocusing (“My Words Are Sacred,” “Well-Fed Machine”), noise-assisted tip-offs (“You, Me, and the Venus in Decay,” “To the Cauldron”), and pedal-down thrusts (“Haunting,” “Arlington Cemetary”) to dog ear its shifts and landmarks. In this case, a horror-synth “Intro” and de-escalating, crinkled found-sound “Outro” are necessary to respectively set the stage and close the curtains. You don’t want to go into this cold, but Chiaroscuro burns so hot that you need a cooldown.

Exulansis // Overtures of Uprising [November 17th, 2023 – Bindrune Recordings]

You ever sit there and wonder when you’re finally gonna find a melodic black metal album that’s actually cool? No? How about one that at least incorporates vibrant violin melodies, guitar identities outside of tremolo progressions, and actual growling bass presence? Well, if so, look no further than Exulansis, a folk-inspired four-piece who finds just as much home in the creeping doom of the string work that you’d hear in an old SubRosa jam as they do in the forested black metal of Wolves in the Throne Room. But in this case, Overtures of Uprising’s four tracks will require only thirty-two minutes (it’s not enough!!) of your hard-to-earn time, a healthy balance of two standard-length numbers against two longer explorations. Whereas their previous album, 2019’s Sequestered Symphony attempted to meld a lot more gothic folk into their sound, Exulansis went and trimmed that into a whole separate album (Hymns of Collapse) this go, which has left absolutely nothing to stand in the way of the bell-hammering drive of “Of Nature & Hatred” or the eerie and screeching “A Movement in Silence”.1 And when they do slow it down for the fanciful, classical violin melodies that signal the triumphant title track or the lurching doom of “Dawning,” Exulansis finds a way to capture the beat of an anxious heart. Unified by a melodic dread, Overtures of Uprising pushes this act closer to record that’ll grab me by the hand and never let go. Fortunately, I know these strong voices have more to say.

Saunders’ Slippery Subjects

Deathcode Society // Unlightenment [November 24th, 2023 – Osmose Productions]

My end-of-year filter was badly clogged amidst the rush to finalize Listurnalia and absorb the mammoth number of releases that either flooded through late or had been backlogged. Nevertheless, in the end-of-year wash-up, I stumbled across the sophomore platter from French symphonic black metal act Deathcode Society, and their powerful, bombastic LP, Unlightenment. Traditionally, I am incredibly picky with my modern black metal, and much of the overly symphonic variety tends to fall flat or overdo the cheese. Comprised of seasoned players, Deathcode Society balances the elements deftly to craft an intriguing platter, with modern sheen and orchestral flair roughened up by second-wave influences and whiffs of later-era Emperor. The sympho-black formula can sometimes veer too drastically into melodramatic territory, adding too much fluff to soften the black metal bite. Thankfully, Deathcode Society generally nail things just right. Within the style, Deathcode Society exhibit a versatile and confident approach, as their epic, carefully layered sound ebbs and flows through diverse pastures. A technical edge permeates material that blisters and tears with speed and aggression, contrasting these pleasingly vicious assaults with mostly tasteful symphonic layers, a varied vocal palette, and long, twisty arrangements. Highlights include the potent, blasty one-two opening punch of “Scolopendra” and “Shards” dominate with sheer scope, ferocity and memorability, while the stellar “Mazed Interior” and “Scales” offer in-your-face aggression and more ambitious, head-spinning turns with maximum impact.

#2023 #AvantGarde #AvantGardeBlackMetal #BindruneRecordings #BlackMetal #BlackenedDeathMetal #BruciaRecords #Chiaroscuro #ClosetWitch #CloudRat #DarkFuneral #DeathMetal #DeathcodeSociety #Dec23 #DHG #Emperor #Exulansis #Grind #Immortal #Irityll #Jadjow #Khôra #MelodicBlackMetal #MonumentOfMisanthropy #Nov23 #OrchestralBlackMetal #OsmoseProductions #OverturesOfUprising #ProgressiveBlackMetal #SchlafesBruder #SelfRelease #SpireOfLazarus #StuckInTheFilter #Subrosa #SymphonicBlackMetal #SymphonicMetal #Unlightenment #VedBuensEnde #Vøid #WolvesInTheThroneRoom #ZegemaBeachRecords

Stuck in the Filter – November/December’s Angry Misses

By Kenstrosity

It is time for the new year, and yet we spend its initial moments reflecting on works of the past. That’s because the works of the past are clogging up our damn Filter, and we need that to breathe in this hellhole we call a headquarters. We toil in the snow and the slush, freezing as the gunk clings to our definitely OSHA compliant protective suits and face masks. All so that you can maybe like but more likely dunk on the nuggets of treasure we find here.

Regardless of whether you enjoy what we find, we expect payment for our services. You can submit tithes via Venmo, Paypal, Bitcoin, hobo wine, unicorns, and/or goat sacrifices. Anything less will result in summary dismissal from the Hall!

Kenstrosity’s Heaving Husks

Void // Jadjow [December 8th, 2023 – Brucia Records]

Weird shit is my shit. Challenging albums that dare to subvert my expectations of the music held therein will always garner my respect. Enter UK avant-garde black metal outfit Void and their fourth LP Jadjow. A bizarrely short window spanned between this release and their previous record—only two years compared to eight years between albums one and two, ten between albums two and three. Despite the tight turnaround, the quality of the writing here is nothing to dismiss offhand. Opening duo “Fables From a Post-Truth Era” and “Interdaementional” showcase twisted songwriting dynamics, haunting vocals, squealing black metal riffs, woody blasts, and funky transitions. Consequently, they remind me of Ved Buens Ende, DHG, and Khôra. Yet, Void prove that the art of the riff is not lost in a sea of weirdness, throwing in headbangable themes and windmill-worthy whirlwinds left and right (“Only For You,” “Self Isolation,” “Swamp Dog”). Striking this balance between engaging hooks (“Fables From a Post-Truth Era,” “Swamp Dog”), danceable grooves (“Oduduwa’s Chain”), and intelligent songwriting dynamics (“When Lucifer Dies,” “Iniquitous Owl”) is tricky business, and yet Void take on the task with effortless grace and poise. In turn, fifty-six minutes of oddball progressive black metal fly by in a flash. You blink, you miss it. Don’t blink!

Irityll // Schlafes Bruder [November 23rd, 2023 – Self Release]

Do you ever wonder what melodic black metal would sound like if it had the same HM-2 tone as the filthiest Swedeath around? I sure never have. Yet, Vienna, Austria’s Irityll chose that exact combination to craft their debut LP, Schlafes Bruder. Comprising of two musicians with notable experience in the deathcore and brutal death metal worlds (Spire of Lazarus, Monument of Misanthropy), Irityll unexpectedly nail the icy black metal sound which defines Schlafes Bruder, but enhanced by the novel twist of an HM-2 buzzsaw tone. Ominous melodies and vicious blasting abound, as choice cuts like “Leichnam aus Überzeugung,” “Deppade Leit,” and “Sternengeiβel” all demonstrate with aplomb. Written in the same epic style of bands like Immortal or Dark Funeral, Schlafes Bruder succeeds primarily thanks to a tasty combination of minimalist drama and riff-focused intensity. The way it ebbs and flows between soft passages and ripping black metal, blistering speed and militant marches, all feels natural, effortless, and leads to satisfying payoffs across the forty-four-minute runtime (“Schlafes Bruder,” “Reiter des Sturmes,” “Epitaphion”). And yet, it feels like just the beginning for Irityll. With more refinement and tightening of the screws, the duo could take even greater advantage of their novel sound profile with more distinct, individualized songwriting. I’m excited by that prospect, and you should be too.

Dolphin Whisperer’s Unparalleled Uncoverings

Closet Witch // Chiaroscuro [November 3rd, 2023 – Zegema Beach Records]

If you’re familiar with Closet Witch already, or the closely related in sound and style Cloud Rat, then you’ll know that the brand of caustically-styled, emotionally-chiseled grind that they represent wastes no moment. Equally weighted by the slowing churns of powerviolence and piercing tones of screamo, Chiaroscuro, a name taken from the classical art technique of shadow-use/darkness contrast that creates wholeness, depth, and tone in a piece, uses each of its identities to drill eighteen minutes of caustic music to your memory. Unfortunately for newcomers or passerbys to the sonic assault that Closet Witch embodies, either the fuzz-rattled and blackened riffage, the clanging and splashing kit abuse, or the shrill and shrieking throat sacrifice build like a wall of bleeding noise. But in practice, Chiaroscuro contains an uncanny ebb and flow, finding footing in rhythmic refocusing (“My Words Are Sacred,” “Well-Fed Machine”), noise-assisted tip-offs (“You, Me, and the Venus in Decay,” “To the Cauldron”), and pedal-down thrusts (“Haunting,” “Arlington Cemetary”) to dog ear its shifts and landmarks. In this case, a horror-synth “Intro” and de-escalating, crinkled found-sound “Outro” are necessary to respectively set the stage and close the curtains. You don’t want to go into this cold, but Chiaroscuro burns so hot that you need a cooldown.

Exulansis // Overtures of Uprising [November 17th, 2023 – Bindrune Recordings]

You ever sit there and wonder when you’re finally gonna find a melodic black metal album that’s actually cool? No? How about one that at least incorporates vibrant violin melodies, guitar identities outside of tremolo progressions, and actual growling bass presence? Well, if so, look no further than Exulansis, a folk-inspired four-piece who finds just as much home in the creeping doom of the string work that you’d hear in an old SubRosa jam as they do in the forested black metal of Wolves in the Throne Room. But in this case, Overtures of Uprising’s four tracks will require only thirty-two minutes (it’s not enough!!) of your hard-to-earn time, a healthy balance of two standard-length numbers against two longer explorations. Whereas their previous album, 2019’s Sequestered Symphony attempted to meld a lot more gothic folk into their sound, Exulansis went and trimmed that into a whole separate album (Hymns of Collapse) this go, which has left absolutely nothing to stand in the way of the bell-hammering drive of “Of Nature & Hatred” or the eerie and screeching “A Movement in Silence”.1 And when they do slow it down for the fanciful, classical violin melodies that signal the triumphant title track or the lurching doom of “Dawning,” Exulansis finds a way to capture the beat of an anxious heart. Unified by a melodic dread, Overtures of Uprising pushes this act closer to record that’ll grab me by the hand and never let go. Fortunately, I know these strong voices have more to say.

Saunders’ Slippery Subjects

Deathcode Society // Unlightenment [November 24th, 2023 – Osmose Productions]

My end-of-year filter was badly clogged amidst the rush to finalize Listurnalia and absorb the mammoth number of releases that either flooded through late or had been backlogged. Nevertheless, in the end-of-year wash-up, I stumbled across the sophomore platter from French symphonic black metal act Deathcode Society, and their powerful, bombastic LP, Unlightenment. Traditionally, I am incredibly picky with my modern black metal, and much of the overly symphonic variety tends to fall flat or overdo the cheese. Comprised of seasoned players, Deathcode Society balances the elements deftly to craft an intriguing platter, with modern sheen and orchestral flair roughened up by second-wave influences and whiffs of later-era Emperor. The sympho-black formula can sometimes veer too drastically into melodramatic territory, adding too much fluff to soften the black metal bite. Thankfully, Deathcode Society generally nail things just right. Within the style, Deathcode Society exhibit a versatile and confident approach, as their epic, carefully layered sound ebbs and flows through diverse pastures. A technical edge permeates material that blisters and tears with speed and aggression, contrasting these pleasingly vicious assaults with mostly tasteful symphonic layers, a varied vocal palette, and long, twisty arrangements. Highlights include the potent, blasty one-two opening punch of “Scolopendra” and “Shards” dominate with sheer scope, ferocity and memorability, while the stellar “Mazed Interior” and “Scales” offer in-your-face aggression and more ambitious, head-spinning turns with maximum impact.

#2023 #AvantGarde #AvantGardeBlackMetal #BindruneRecordings #BlackMetal #BlackenedDeathMetal #BruciaRecords #Chiaroscuro #ClosetWitch #CloudRat #DarkFuneral #DeathMetal #DeathcodeSociety #Dec23 #DHG #Emperor #Exulansis #Grind #Immortal #Irityll #Jadjow #Khôra #MelodicBlackMetal #MonumentOfMisanthropy #Nov23 #OrchestralBlackMetal #OsmoseProductions #OverturesOfUprising #ProgressiveBlackMetal #SchlafesBruder #SelfRelease #SpireOfLazarus #StuckInTheFilter #Subrosa #SymphonicBlackMetal #SymphonicMetal #Unlightenment #VedBuensEnde #Vøid #WolvesInTheThroneRoom #ZegemaBeachRecords