BIZARRE / DEMO-ESQUE BLACK METAL OF 2024: SO FAR, SO GOOD, SO WHAT?

(Axel Stormbreaker returns… with his list of top obscurities released so far in the current year)

2024 has been a fun year so far. So much so that I’m giving you a short list of random goodies I’ve been enjoying. Since most selections here have only been released digitally, better mark my words, dear tape labels, ‘cos untold riches lie before you. You’ll be earning so much cash you won’t ever know how to spend it.

I’m pretty sure, now that I wrote this, that every band on my list gets filthy rich beyond their wildest imagination. Because everyone is hanging on my lips. I’m truly that amazing.

P.S.: Expect to read a lot of nonsense that may hopefully make a whole lot of sense. It’s the only serious thing about this prologue, anyway.

 

Through The Spatial Dimensions – Into The Astral

This dude’s a Russian who plays avant-garde black metal. No joke here, I’m genuinely intrigued. After all, it’s not like I’m hiding that I’ve always had this soft spot for all kinds of good Siberian metal, especially when it’s crafted through hardships and great, insurmountable obstacles. I just don’t think such bands can tour, sell records, or promote their music as well as American or European bands do. Thus, if we forget about international politics for a moment, such passion should stand for something.

So, anyway, Through the Spatial Dimensions choose to derive their influences from a wide range of ’90s black metal areas. Starting from Norway’s Dødheimsgard, up to Britain’s prestigious Cradle of Filth. All while orchestrating their internal structures according to standards that may only appear as up to date to any listener. It’s a ‘90s-styled avant-garde release, refined through teachings of the modern era, all without subduing the very grim detachment that defines black metal itself.

Or I’m just talking semantics, and I could have said this is how Arcturus might have sounded in the early ’90s, had they been born in England instead of Norway, of course. Or it’s just how Black Medium Current could / should have turned out to be had DHG not turned their focus towards other areas. The possibilities are literally endless.

 

Sanguinary Emperor – 2024 Demo

OK, I dunno whose barbecue this is, but I’ll be damned if the smell ain’t good. Take some early Blasphemy, throw a pinch or two of Nihilist all over (or Nirvana 2002, maybe) , and keep on grilling as you’re adding some second-wave black metal as a bonus.

As you may get, Sanguinary Emperor‘s raspy Metal of Death simply fits as the ideal background of your late-night-grill-sports-parties, wherein every no-good buddy feels welcome, just for endorsing only the baddest goats in town.

It’s either that, or the band’s vegan, you know. In which case I’d sincerely apologize. I only thought so ‘cos their current Bandcamp band picture did remind me of similar aesthetics applied by former punks.

 

Windark – Wildergrave

Melancholic second-wave black metal from Bend, Oregon? Maybe so. What Windark chooses here is to describe this work of art as “a Dark Hymn to the Solitude of Night”, based on its subcutaneous guitars and its shredded, guilt-ridden vocals. Even if special commendation should also be attributed to its dramatic, yet subtle keys, as they tend to formulate a thick, impenetrable fog of deep autumnal despair.

Now, that sounded heavy. A bit too goth of me. But it ain’t my fault as Wildergrave truly stands as a magnificent BM release, one that’s undeniably eligible for a limited cassette pressing. Fact is the more I listen to it, the more convinced I am that it may even sound more “earthly” on tape format. So, you know, labels, beware… untold riches, etc, etc…

 

Starer / Last Sadness – Into the Unknown Infinity of Thoughts

This one’s exhaling pure awesomeness. What Kentucky’s Starer offers is an intriguing mix of post-black and thrash-y groove metal, ardently faithful to rules of experimentation (subconsciously) established by metalcore’s forefathers. Last Sadness, on the other hand, is a different case altogether, despite how both projects are led by Josh Hines as one-man units. It’s just how Into The Infinity of Thoughts ends up as more of a post-rock/post-punk blend, one that’s deriving its main stream of influence straight from the bleak heart of the mid/late ’80s.

A breathtaking release all around. No matter how I feel about mentalists, or creepy tall dudes who stand still in dark hallways.

 

Occult Blood – The Room in the Ground

Another NCS contributor did provide a short description of this exquisite obscurity right here, but it’s too damn good to just not bring up the subject again. Especially, since Occult Blood will be releasing a waxed 12” compilation later this year featuring the entirety of their demo material.

Thus, as I avoid shitting in other people’s barns, I’ll just call it a great example of punk-ish, Ildjarn-istic black metal prior to redirecting you to the main source for additional information.

Or I’m just avoiding writing more of my dumb stuff such as a writer wrote words, etc.

 

Nachtheem – Nacht, zij met ons…

Dutch lo-fi project in the vein of late ’00s DSBM and obscure dark ambient. It’s gritty, pessimistic, or even auroral at times, which makes it an incredibly interesting listen. Its grimmest inclinations may feel oddly reminiscent of the affiliated German DSBM scene. As well as its grandiose moments may well pay tribute to brief moments of novelty derived from their local areas. And then there’s this gnawing ambient element disturbing your late-night sleep. Either by invoking horrible nightmares, or by tightening the atmosphere to the point of no escape.

Or you should just forget my nonsensical mumbling. Please go ahead and listen to “De oude dennen” and think of what expresses you better.

 

Coffret de Bijoux – La l’dépendåancsee ause kelées magiquey quề…

This one sounds pretty much as if Reverorum ib Malacht took a much needed vacation to Acapulco and thought it’d be great to record a shoegaze-y-version of Urkaos by using an antiquated portable tape player. And yeah, I know it appears as if I’m trolling the band, but why don’t you think about it for a sec.

Coffret de Bijoux is indeed more light-spirited, or even amateurish in parts. Which makes the whole recording unconventionally great, or even arguably superior to any remotely similar lo-fi demo I’ve heard in a good while. I mean, it’s all done intentionally, up to a point it’s so weird, it’s actually good. The sole fact this dude here adds his finishing touches with an out-of-tune cover of Ichiko Aoba speaks for itself.

 

Cold Colors – Vanishing Dreams

Nevertheless. I think I should be closing this by adding something different. It’s such a nuisance, I know, but it changes not the fact that Waste Editions from Spain is releasing a 12″ waxed version of Cold Colors’ Vanishing Dreams much sooner than you’d likely expect.

What we have here is a fine, unpolished example of French post-punk/cold-wave/synthpop, one that suits alienated tastes coming from different backgrounds. It’s obscure, subtle, or even numbing to an extent a cold breeze of air keeps on circumventing around you with every new listen.

Plus, any of you who enjoyed, or mildly appreciated Host‘s IX (yeah, that side-project connected to Paradise Lost) may come to think this one’s far too interesting as well to simply pass by.