#spectralvoice — Public Fediverse posts

Black Curse – Burning in Celestial Poison Review

By Eldritch Elitist

There are a mere handful of artists whose work I would describe as genuinely transportive. Black Curse is one of them, but instead of sweeping me away into cold space, vast wilderness, or entire fucking battlefields, Black Curse transports me straight to whatever Cenobite hell rewires your pleasure centers. By all accounts, I should not like Black Curse. I don’t even like war metal1. Yet 2020’s Endless Wound clawed and wriggled and scorched its way into my good graces all the same, and upon retrospection feels like one of that year’s most enduring records. Four years on, and those assuredly busy members of Khemmis, Primitive Man, Spectral Voice, and now Ulthar2 have convened again for a follow-up I never dared hope would materialize. The result is Burning in Celestial Poison, a record I can’t quite fully wrap my brain around, other than to gain an incomplete understanding of its brilliance.

Burning in Celestial Poison still very much sounds like Black Curse: sonically akin to a more purely elemental Teitanblood, but with an unmistakably caustic stamp. It’s evident that the members understand that approximately 17% of the Black Curse entertainment factor stems from fucked up guitar squeals and indecipherable shrieking, as those crucial components are ever-present. Yet in contrast to the relative simplicity of Black Curse’s debut, Burning in Celestial Poison’s compositions invoke a puzzle box shrouded in thorns and smoke. Its average track length nearly doubles that of its predecessor, but even its shortest cuts feel unpredictable and disarmingly aggressive. For all its twists and turns, Burning in Celestial Poison is a more immediately visceral Black Curse, with less allowance for doom metal sections or breathing room in general. This is an outright endurance test and an utterly relentless experience, but its density and scope are captivating, ensuring maximum replay value.

In terms of genre composition, Burning in Celestial Poison has shifted the balance of black metal and death metal, giving their blackened side more earth with which to scorch. In fact, the winding compositions frequently remind me of Black Curse’s labelmate Funereal Presence. While Black Curse operates best when they prime their assaults with death metal bluntness, this change represents a better balancing of their elements, and death metal is still frequently granted center stage. “Trodden Flesh” in particular boasts a midsection anchored with disgustingly catchy riffs that feel disconcertingly accessible in the context of this record, uncharacteristically enticing as if concealing an ulterior motive. If I have a critique from the songwriting front, it’s that memorable passages such as these feel somewhat sparse. There are big moments that tower above the madness, feverishly grasping at an even bolder vision, but their hold is fleeting. A greater frequency of these moments could have further elevated an already compelling vision.

Arthur Rizk returns once again as producer, and has engineered Burning in Celestial Poison to be similarly abrasive, with instruments presented in lower fidelity than its predecessor. The performances are further obscured by countless layers of screeching ambience, with every component thoroughly moistened by reverb. I’m of two minds regarding the production on this record. On one hand, its sheer cacophony makes for a listening experience that feels only a few steps removed from inscrutability, making its curious atmosphere all the more maliciously unknowable. On the other, my desire to constantly delve into this record’s depths for a better understanding of its thesis is mildly quelled by the hostility of its engineering. As this uncomfortable feeling is almost certainly Black Curse’s intent, I’m inclined to chalk the production choices up as a net positive. Burning in Celestial Poison is the rare metal record that may come across as legitimately hostile to genre veterans, and one that somehow lives up to the overwrought, hyperbolic pitch presented with its promo sheet.

After living with this album for some time, I came to the realization that Burning in Celestial Poison feels closer to the Black Curse imprinted in my mind following their debut than the Black Curse presented on that debut. It is unquestionably more than the sum of its parts and feels closer to the band’s true vision, one driven by instinct and impulse rather than a discernible, structured order. As for whether I believe this record is actually better than Endless Wound, I believe the answer will only be revealed over time. Endless Wound is more immediately appealing, but something about its execution feels less satisfying now that I know what Black Curse is capable of. Burning in Celestial Poison will almost certainly spark debate; with every spin, it becomes clearer that it is not a safe sequel. Yet this is still a work that sounds like it could only come from one collective of artists, and to me, that signifies a success on all fronts.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Sepulchral Voice Records
Website: blackcurse-svr.bandcamp.com
Releases Worldwide: October 25th, 2024

#2024 #40 #AmericanMetal #BlackCurse #BlackenedDeathMetal #BloodIncantation #BurningInCelestialPoison #FunerealPresence #Khemmis #Oct24 #PrimitiveMan #Review #Reviews #SepulchralVoiceRecords #SpectralVoice #Teitanblood #Ulthar

Black Curse – Burning in Celestial Poison Review

By Eldritch Elitist

There are a mere handful of artists whose work I would describe as genuinely transportive. Black Curse is one of them, but instead of sweeping me away into cold space, vast wilderness, or entire fucking battlefields, Black Curse transports me straight to whatever Cenobite hell rewires your pleasure centers. By all accounts, I should not like Black Curse. I don’t even like war metal1. Yet 2020’s Endless Wound clawed and wriggled and scorched its way into my good graces all the same, and upon retrospection feels like one of that year’s most enduring records. Four years on, and those assuredly busy members of Khemmis, Primitive Man, Spectral Voice, and now Ulthar2 have convened again for a follow-up I never dared hope would materialize. The result is Burning in Celestial Poison, a record I can’t quite fully wrap my brain around, other than to gain an incomplete understanding of its brilliance.

Burning in Celestial Poison still very much sounds like Black Curse: sonically akin to a more purely elemental Teitanblood, but with an unmistakably caustic stamp. It’s evident that the members understand that approximately 17% of the Black Curse entertainment factor stems from fucked up guitar squeals and indecipherable shrieking, as those crucial components are ever-present. Yet in contrast to the relative simplicity of Black Curse’s debut, Burning in Celestial Poison’s compositions invoke a puzzle box shrouded in thorns and smoke. Its average track length nearly doubles that of its predecessor, but even its shortest cuts feel unpredictable and disarmingly aggressive. For all its twists and turns, Burning in Celestial Poison is a more immediately visceral Black Curse, with less allowance for doom metal sections or breathing room in general. This is an outright endurance test and an utterly relentless experience, but its density and scope are captivating, ensuring maximum replay value.

In terms of genre composition, Burning in Celestial Poison has shifted the balance of black metal and death metal, giving their blackened side more earth with which to scorch. In fact, the winding compositions frequently remind me of Black Curse’s labelmate Funereal Presence. While Black Curse operates best when they prime their assaults with death metal bluntness, this change represents a better balancing of their elements, and death metal is still frequently granted center stage. “Trodden Flesh” in particular boasts a midsection anchored with disgustingly catchy riffs that feel disconcertingly accessible in the context of this record, uncharacteristically enticing as if concealing an ulterior motive. If I have a critique from the songwriting front, it’s that memorable passages such as these feel somewhat sparse. There are big moments that tower above the madness, feverishly grasping at an even bolder vision, but their hold is fleeting. A greater frequency of these moments could have further elevated an already compelling vision.

Arthur Rizk returns once again as producer, and has engineered Burning in Celestial Poison to be similarly abrasive, with instruments presented in lower fidelity than its predecessor. The performances are further obscured by countless layers of screeching ambience, with every component thoroughly moistened by reverb. I’m of two minds regarding the production on this record. On one hand, its sheer cacophony makes for a listening experience that feels only a few steps removed from inscrutability, making its curious atmosphere all the more maliciously unknowable. On the other, my desire to constantly delve into this record’s depths for a better understanding of its thesis is mildly quelled by the hostility of its engineering. As this uncomfortable feeling is almost certainly Black Curse’s intent, I’m inclined to chalk the production choices up as a net positive. Burning in Celestial Poison is the rare metal record that may come across as legitimately hostile to genre veterans, and one that somehow lives up to the overwrought, hyperbolic pitch presented with its promo sheet.

After living with this album for some time, I came to the realization that Burning in Celestial Poison feels closer to the Black Curse imprinted in my mind following their debut than the Black Curse presented on that debut. It is unquestionably more than the sum of its parts and feels closer to the band’s true vision, one driven by instinct and impulse rather than a discernible, structured order. As for whether I believe this record is actually better than Endless Wound, I believe the answer will only be revealed over time. Endless Wound is more immediately appealing, but something about its execution feels less satisfying now that I know what Black Curse is capable of. Burning in Celestial Poison will almost certainly spark debate; with every spin, it becomes clearer that it is not a safe sequel. Yet this is still a work that sounds like it could only come from one collective of artists, and to me, that signifies a success on all fronts.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Sepulchral Voice Records
Website: blackcurse-svr.bandcamp.com
Releases Worldwide: October 25th, 2024

Show 2 footnotes

1. It could be argued whether Black Curse qualifies as war metal or is merely war metal-adjacent, but I’m not exactly qualified to weigh in. ↩
2. That band’s Steve Peacock here replaces Blood Incantation’s Morris Kolontyrsky on bass. ↩

#2024 #40 #AmericanMetal #BlackCurse #BlackenedDeathMetal #BloodIncantation #BurningInCelestialPoison #FunerealPresence #Khemmis #Oct24 #PrimitiveMan #Review #Reviews #SepulchralVoiceRecords #SpectralVoice #Teitanblood #Ulthar

Black Curse – Burning in Celestial Poison Review

By Eldritch Elitist

There are a mere handful of artists whose work I would describe as genuinely transportive. Black Curse is one of them, but instead of sweeping me away into cold space, vast wilderness, or entire fucking battlefields, Black Curse transports me straight to whatever Cenobite hell rewires your pleasure centers. By all accounts, I should not like Black Curse. I don’t even like war metal1. Yet 2020’s Endless Wound clawed and wriggled and scorched its way into my good graces all the same, and upon retrospection feels like one of that year’s most enduring records. Four years on, and those assuredly busy members of Khemmis, Primitive Man, Spectral Voice, and now Ulthar2 have convened again for a follow-up I never dared hope would materialize. The result is Burning in Celestial Poison, a record I can’t quite fully wrap my brain around, other than to gain an incomplete understanding of its brilliance.

Burning in Celestial Poison still very much sounds like Black Curse: sonically akin to a more purely elemental Teitanblood, but with an unmistakably caustic stamp. It’s evident that the members understand that approximately 17% of the Black Curse entertainment factor stems from fucked up guitar squeals and indecipherable shrieking, as those crucial components are ever-present. Yet in contrast to the relative simplicity of Black Curse’s debut, Burning in Celestial Poison’s compositions invoke a puzzle box shrouded in thorns and smoke. Its average track length nearly doubles that of its predecessor, but even its shortest cuts feel unpredictable and disarmingly aggressive. For all its twists and turns, Burning in Celestial Poison is a more immediately visceral Black Curse, with less allowance for doom metal sections or breathing room in general. This is an outright endurance test and an utterly relentless experience, but its density and scope are captivating, ensuring maximum replay value.

In terms of genre composition, Burning in Celestial Poison has shifted the balance of black metal and death metal, giving their blackened side more earth with which to scorch. In fact, the winding compositions frequently remind me of Black Curse’s labelmate Funereal Presence. While Black Curse operates best when they prime their assaults with death metal bluntness, this change represents a better balancing of their elements, and death metal is still frequently granted center stage. “Trodden Flesh” in particular boasts a midsection anchored with disgustingly catchy riffs that feel disconcertingly accessible in the context of this record, uncharacteristically enticing as if concealing an ulterior motive. If I have a critique from the songwriting front, it’s that memorable passages such as these feel somewhat sparse. There are big moments that tower above the madness, feverishly grasping at an even bolder vision, but their hold is fleeting. A greater frequency of these moments could have further elevated an already compelling vision.

Arthur Rizk returns once again as producer, and has engineered Burning in Celestial Poison to be similarly abrasive, with instruments presented in lower fidelity than its predecessor. The performances are further obscured by countless layers of screeching ambience, with every component thoroughly moistened by reverb. I’m of two minds regarding the production on this record. On one hand, its sheer cacophony makes for a listening experience that feels only a few steps removed from inscrutability, making its curious atmosphere all the more maliciously unknowable. On the other, my desire to constantly delve into this record’s depths for a better understanding of its thesis is mildly quelled by the hostility of its engineering. As this uncomfortable feeling is almost certainly Black Curse’s intent, I’m inclined to chalk the production choices up as a net positive. Burning in Celestial Poison is the rare metal record that may come across as legitimately hostile to genre veterans, and one that somehow lives up to the overwrought, hyperbolic pitch presented with its promo sheet.

After living with this album for some time, I came to the realization that Burning in Celestial Poison feels closer to the Black Curse imprinted in my mind following their debut than the Black Curse presented on that debut. It is unquestionably more than the sum of its parts and feels closer to the band’s true vision, one driven by instinct and impulse rather than a discernible, structured order. As for whether I believe this record is actually better than Endless Wound, I believe the answer will only be revealed over time. Endless Wound is more immediately appealing, but something about its execution feels less satisfying now that I know what Black Curse is capable of. Burning in Celestial Poison will almost certainly spark debate; with every spin, it becomes clearer that it is not a safe sequel. Yet this is still a work that sounds like it could only come from one collective of artists, and to me, that signifies a success on all fronts.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Sepulchral Voice Records
Website: blackcurse-svr.bandcamp.com
Releases Worldwide: October 25th, 2024

#2024 #40 #AmericanMetal #BlackCurse #BlackenedDeathMetal #BloodIncantation #BurningInCelestialPoison #FunerealPresence #Khemmis #Oct24 #PrimitiveMan #Review #Reviews #SepulchralVoiceRecords #SpectralVoice #Teitanblood #Ulthar

Black Curse – Burning in Celestial Poison Review

By Eldritch Elitist

There are a mere handful of artists whose work I would describe as genuinely transportive. Black Curse is one of them, but instead of sweeping me away into cold space, vast wilderness, or entire fucking battlefields, Black Curse transports me straight to whatever Cenobite hell rewires your pleasure centers. By all accounts, I should not like Black Curse. I don’t even like war metal1. Yet 2020’s Endless Wound clawed and wriggled and scorched its way into my good graces all the same, and upon retrospection feels like one of that year’s most enduring records. Four years on, and those assuredly busy members of Khemmis, Primitive Man, Spectral Voice, and now Ulthar2 have convened again for a follow-up I never dared hope would materialize. The result is Burning in Celestial Poison, a record I can’t quite fully wrap my brain around, other than to gain an incomplete understanding of its brilliance.

Burning in Celestial Poison still very much sounds like Black Curse: sonically akin to a more purely elemental Teitanblood, but with an unmistakably caustic stamp. It’s evident that the members understand that approximately 17% of the Black Curse entertainment factor stems from fucked up guitar squeals and indecipherable shrieking, as those crucial components are ever-present. Yet in contrast to the relative simplicity of Black Curse’s debut, Burning in Celestial Poison’s compositions invoke a puzzle box shrouded in thorns and smoke. Its average track length nearly doubles that of its predecessor, but even its shortest cuts feel unpredictable and disarmingly aggressive. For all its twists and turns, Burning in Celestial Poison is a more immediately visceral Black Curse, with less allowance for doom metal sections or breathing room in general. This is an outright endurance test and an utterly relentless experience, but its density and scope are captivating, ensuring maximum replay value.

In terms of genre composition, Burning in Celestial Poison has shifted the balance of black metal and death metal, giving their blackened side more earth with which to scorch. In fact, the winding compositions frequently remind me of Black Curse’s labelmate Funereal Presence. While Black Curse operates best when they prime their assaults with death metal bluntness, this change represents a better balancing of their elements, and death metal is still frequently granted center stage. “Trodden Flesh” in particular boasts a midsection anchored with disgustingly catchy riffs that feel disconcertingly accessible in the context of this record, uncharacteristically enticing as if concealing an ulterior motive. If I have a critique from the songwriting front, it’s that memorable passages such as these feel somewhat sparse. There are big moments that tower above the madness, feverishly grasping at an even bolder vision, but their hold is fleeting. A greater frequency of these moments could have further elevated an already compelling vision.

Arthur Rizk returns once again as producer, and has engineered Burning in Celestial Poison to be similarly abrasive, with instruments presented in lower fidelity than its predecessor. The performances are further obscured by countless layers of screeching ambience, with every component thoroughly moistened by reverb. I’m of two minds regarding the production on this record. On one hand, its sheer cacophony makes for a listening experience that feels only a few steps removed from inscrutability, making its curious atmosphere all the more maliciously unknowable. On the other, my desire to constantly delve into this record’s depths for a better understanding of its thesis is mildly quelled by the hostility of its engineering. As this uncomfortable feeling is almost certainly Black Curse’s intent, I’m inclined to chalk the production choices up as a net positive. Burning in Celestial Poison is the rare metal record that may come across as legitimately hostile to genre veterans, and one that somehow lives up to the overwrought, hyperbolic pitch presented with its promo sheet.

After living with this album for some time, I came to the realization that Burning in Celestial Poison feels closer to the Black Curse imprinted in my mind following their debut than the Black Curse presented on that debut. It is unquestionably more than the sum of its parts and feels closer to the band’s true vision, one driven by instinct and impulse rather than a discernible, structured order. As for whether I believe this record is actually better than Endless Wound, I believe the answer will only be revealed over time. Endless Wound is more immediately appealing, but something about its execution feels less satisfying now that I know what Black Curse is capable of. Burning in Celestial Poison will almost certainly spark debate; with every spin, it becomes clearer that it is not a safe sequel. Yet this is still a work that sounds like it could only come from one collective of artists, and to me, that signifies a success on all fronts.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: Sepulchral Voice Records
Website: blackcurse-svr.bandcamp.com
Releases Worldwide: October 25th, 2024

#2024 #40 #AmericanMetal #BlackCurse #BlackenedDeathMetal #BloodIncantation #BurningInCelestialPoison #FunerealPresence #Khemmis #Oct24 #PrimitiveMan #Review #Reviews #SepulchralVoiceRecords #SpectralVoice #Teitanblood #Ulthar

Black Wound – Warping Structure Review

By Cherd

Editors Note: After this review was written, it was discovered this album has been available digitally since at least July, 2023. Double check your promos, kids.

Death metal has always been about ugliness, but after 40 years of refinement and cross-pollination with other genres, a lot of death metal is less stained cargo shorts and tattered t-shirts and more black-tie formal, or at least business casual. Sometimes you just want it dirty. Filthy fucking vile. Really icky poopy. For times like this, Stockholm, Sweden’s Black Wound have you covered. In a thick film of grime. Only active since 2021, Warping Structure is the band’s debut full-length of clattering, dread-inducing death doom. Melody infused Swedeath this is not. In fact, the band have coined the word “wardoom” to describe their foul excretions. Will it make you want to take up arms against enemy and friend alike? Let’s plumb these loathsome depths and hope the air down there is breathable.

To call this caverncore would be an understatement. This is the music of a human sub-species who pushed deeper into caves as our own ancestors began constructing shelters with primitive tools. Over the generations, they lost their hair along with any memory of the sun. Their eyes turned to black orbs just visible beneath layers of translucent skin. They ride giant salamanders into battle and their dead are encased in slow trickling stalagmites. The feral croaks and death rumbles of vocalist William Kaloczy reverberate through damp walled tunnels while the buzzing crunch of his bass holds the low end to the floor. When guitarist Daniel Lysatchov isn’t bludgeoning you with abysmal doom chugs (“Dread,” “Vermin Firstborn”) or peeling your flesh with tremolo blades (“Rag,” “Trench Blast”), he lets the squall and squeal of barely controlled feedback fill the dark corners of every song. Ritualistic pounding and clear, sharp cymbal strikes courtesy of Gustaf Magnusson round out the relentless din.

The best way to take Warping Structure is as a whole. For almost exactly 40 minutes, let your head slip under the muck so only bubbles slapping the coagulated surface mark your location, because this atmosphere is all-encompassing. If you’re looking for contemporaries of the sound, Spectral Voice or Fossilization come to mind, but Black Wound have their own unpalatable flavor. They’re looser than either of those, which is part of the charm if you’re willing to let it be. Even in its densest moments, Warping Structure gives you aural perches, guide stars to get you through the murk, like the warped riff late in “Dread,” the sudden slowdowns in “Trench Blast,” the outstanding use of a Lord of the Rings sample in “Rag,” or the shriek/squeals Kaloczy lets loose during “Sworn” and “Vermin Firstborn.” The brutal title track even has a central riff that could be construed as melody, if you’re into that sort of thing. It’s all very ugly, but much more subtle and rewarding than can be gleaned from just one or two spins.

Warping Structure is an example of a band knowing what it wants to do and doing that thing to exactly the amount they aimed for, so it’s hard to find fault. That said, this is almost certainly something most people won’t want to reach for often, even if they enjoy it while it’s playing. Its looseness and its echoey—although surprisingly legible—production job make this a niche release to anyone not really into ooga booga shit. It’s an act of will to suspend whatever you think you want out of the listening experience and instead give yourself over to the clangor, but for those who can, whether easily or reluctantly, a meticulously built atmosphere awaits. In some ways, this is the death metal equivalent to raw black metal, and you know how I feel about that.

If you love death metal but tire of the sheen found on the tech- or prog- varieties, even a lot of OSDM these days, or if you just miss the days of trading death metal demo tapes, Black Wound has all the grime. It’s the most fun you can have over a mile underground, so pack your headlamp and your repelling gear. And some weapons.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Chaos Records
Website: blackwound1.bandcamp.com
Releases Worldwide: May 31st, 2024 or awhile ago

#2024 #35 #BlackWound #ChaosRecords #DeathDoom #DeathMetal #Fossilization #May24 #Review #Reviews #SpectralVoice #SwedishMetal #WarpingStructure

Black Wound – Warping Structure Review

By Cherd

Editors Note: After this review was written, it was discovered this album has been available digitally since at least July, 2023. Double check your promos, kids.

Death metal has always been about ugliness, but after 40 years of refinement and cross-pollination with other genres, a lot of death metal is less stained cargo shorts and tattered t-shirts and more black-tie formal, or at least business casual. Sometimes you just want it dirty. Filthy fucking vile. Really icky poopy. For times like this, Stockholm, Sweden’s Black Wound have you covered. In a thick film of grime. Only active since 2021, Warping Structure is the band’s debut full-length of clattering, dread-inducing death doom. Melody infused Swedeath this is not. In fact, the band have coined the word “wardoom” to describe their foul excretions. Will it make you want to take up arms against enemy and friend alike? Let’s plumb these loathsome depths and hope the air down there is breathable.

To call this caverncore would be an understatement. This is the music of a human sub-species who pushed deeper into caves as our own ancestors began constructing shelters with primitive tools. Over the generations, they lost their hair along with any memory of the sun. Their eyes turned to black orbs just visible beneath layers of translucent skin. They ride giant salamanders into battle and their dead are encased in slow trickling stalagmites. The feral croaks and death rumbles of vocalist William Kaloczy reverberate through damp walled tunnels while the buzzing crunch of his bass holds the low end to the floor. When guitarist Daniel Lysatchov isn’t bludgeoning you with abysmal doom chugs (“Dread,” “Vermin Firstborn”) or peeling your flesh with tremolo blades (“Rag,” “Trench Blast”), he lets the squall and squeal of barely controlled feedback fill the dark corners of every song. Ritualistic pounding and clear, sharp cymbal strikes courtesy of Gustaf Magnusson round out the relentless din.

The best way to take Warping Structure is as a whole. For almost exactly 40 minutes, let your head slip under the muck so only bubbles slapping the coagulated surface mark your location, because this atmosphere is all-encompassing. If you’re looking for contemporaries of the sound, Spectral Voice or Fossilization come to mind, but Black Wound have their own unpalatable flavor. They’re looser than either of those, which is part of the charm if you’re willing to let it be. Even in its densest moments, Warping Structure gives you aural perches, guide stars to get you through the murk, like the warped riff late in “Dread,” the sudden slowdowns in “Trench Blast,” the outstanding use of a Lord of the Rings sample in “Rag,” or the shriek/squeals Kaloczy lets loose during “Sworn” and “Vermin Firstborn.” The brutal title track even has a central riff that could be construed as melody, if you’re into that sort of thing. It’s all very ugly, but much more subtle and rewarding than can be gleaned from just one or two spins.

Warping Structure is an example of a band knowing what it wants to do and doing that thing to exactly the amount they aimed for, so it’s hard to find fault. That said, this is almost certainly something most people won’t want to reach for often, even if they enjoy it while it’s playing. Its looseness and its echoey—although surprisingly legible—production job make this a niche release to anyone not really into ooga booga shit. It’s an act of will to suspend whatever you think you want out of the listening experience and instead give yourself over to the clangor, but for those who can, whether easily or reluctantly, a meticulously built atmosphere awaits. In some ways, this is the death metal equivalent to raw black metal, and you know how I feel about that.

If you love death metal but tire of the sheen found on the tech- or prog- varieties, even a lot of OSDM these days, or if you just miss the days of trading death metal demo tapes, Black Wound has all the grime. It’s the most fun you can have over a mile underground, so pack your headlamp and your repelling gear. And some weapons.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Chaos Records
Website: blackwound1.bandcamp.com
Releases Worldwide: May 31st, 2024 or awhile ago

#2024 #35 #BlackWound #ChaosRecords #DeathDoom #DeathMetal #Fossilization #May24 #Review #Reviews #SpectralVoice #SwedishMetal #WarpingStructure