Apr 142015
 

 

(Wil Cifer reviews Aldafǫðr Ok Munka Dróttinn (“Óðinn and the God of the Monks”), the new album by the Icelandic/German pagan metal band Arstidir Lifsins.)

This trio features members of Helrunar and Carpe Noctem, so you know they are going to get at least the Viking parts right.

It starts with a twelve-minute epic, with the first three minutes building up to the metal being introduced. Largely there is a chorus of baritones bellowing out the vocals, but these give way to black metal snarls. The first and second songs run into each another, as if this were a Wagnerian opera. Like opera, the sensual magnitude of the scenes they are creating here is impressive.

At times you might be inclined to refer to the music as blackened folk metal — the third song has some old-school black metal nastiness to it — though the bass playing is raised to an audible level, where many black metal bass players stay submerged beneath the waves. Here the theatrics that take center stage, rather than trying to recreate any pagan folk elements, more often work within the song rather than making it feel overblown, though in some portions of the album they come across more like interludes rather than the style of a band like Negura Bunget, who use those elements more fully as working parts of the song. Continue reading »

Apr 082015
 

 

(Wil Cifer provides this review of a new single by Unraveling from Calgary, Canada.)

If any sub-genre in the metal family tree deserves to see the inevitable upswing in the perpetual cycle that most musical trends follow, it’s industrial. You would think Godflesh’s comeback would have spurned this. We do have Author & Punisher and Youth Code, but that is hardly a groundswell for the kind of music that dominated the 90s alongside grunge. It has yet to really see a resurgence of the magnitude it deserves. Taking their best stab westward at the genre’s more accessible side is a project from Canada called The Unraveling.

They have returned with the first new song since their lead singer fell out of commission for a year due to heath problems; it’s the band’s first new music since their 2010 release 13 Arcane Hymns. This track shows the duo evolving from just another Tool-influenced hard-rock band stuck in the 90s to something more promising. Continue reading »

Apr 022015
 

 

(Wil Cifer provides some thoughts about the new album by Sweden’s Tribulation.)

Up until this point Tribulation has been a more fascinating creature on stage. The Children of the Night carries those wandering moments of majick the band summons on stage and transfigures them into a more solid form.

Often the album trades the traditional metal crunch for a more multifaceted organic tone that just happens to be played loudly. This is very much a guitar-centric album. The riffs are more than hammers that pound your head until you begin banging it, but tools to entrench the dark melodies into your hungering ears. On first listen, certain songs have the brighter epic metal tone that might cause Enslaved comparisons to abound, but the band is setting the stage for something more sinister lurking under the surface, while Enslaved sails their prog power longboats into Norse lore. Continue reading »

Mar 022015
 

 

(Wil Cifer reviews the debut album by Ghost Bath, which comes out on March 17 via Northern Silence, with a full-album stream at the end.)

The Deafheaven comparisons will overflow Ghost Bath’s ethereal tub, but at its heart Moonlover favors its depressive black metal side over any of the shoe-gazing it flirts with. The opening “Golden Number” uses more synths and piano than Sunbather had as an entire album. On “Happyhouse” the band make it even clearer that the depressive elements are more important to them than the shoe-gazing. They drill into the blasting section, their drummer attacking with more feral precision than Deafheaven.

The crystalline ringing of the guitars in “Beneath the Shade Tree” is darkly beautiful, though it is just an interlude that gives some breathing room before the first part of “The Silver Flower”. From this point on the album takes a turn away from more vocal-centered music into atmosphere and ambience, dragging you along for a session of melodic hypnosis before the blast beats kick you off the cliff. Continue reading »

Feb 182015
 

photo by Duffi-Graffie

 

(Wil Cifer interviews Ritual Butcherer, guitarist, composer, and co-founder of Finland’s Archgoat, whose new album The Apocalyptic Triumphator is one of 2015’s high points so far.)

Your new album The Apocalyptic Triumphator has really set the bar high for metal coming out in 2015. One of the most impressive things about Archgoat is the fact that despite being incredibly heavy, you guys pull this off and still write good songs instead of placing all the focus on the heavy element. What do you attribute this to?

Our whole composing process is guitar-riff orientated and everything builds around the guitar parts. If the guitar riff is good and in company of 4-5 equally good riffs, it is then easy to add tempos with the drums to keep things interesting, but if the guitar part is weak or mediocre the drumming or vocals will not help the situation. We have in the two last recordings really wanted to get a heavy and thick sound because it just works with our hymns. And the drop tuning we use adds even more beef to the whole barrage of sound.

 

How has the songwriting process changed for you guys over the years?

In the beginning we all participated equally in hymn writing, but I have been taking more and more responsibility than in previous years and now have alone composed all the music from Heavenly Vulva as for The Apocalyptic Triumphator. It is, though, irrelevant who of the members does what, as the band is a band, and not for personal glory but for the glorifying of Lucifer. Continue reading »

Feb 132015
 

 

(We present Wil Cifer’s interview with Voivod drummer Michel Langevin (Away).)

Here’s an interview I did with one of the most underrated drummers in metal — Away from VoiVod, who I caught up with on the Space and Grind Tour, where they continue to steal the show from Napalm Death.

******

Caught the show last night and you guys were amazing, one thing I thought was interesting was that all of the songs except for the new one were from Nothingface” and back, and when I heard Target Earth I thought, “Wow, this is the album that should have come after Nothingface” just from the vibe it had.

Away – We have three sets and songs from Target Earth are on two of them, but we have been debating that, since we are on tour to promote that album. What do you think, should we play more from Target Earth? Continue reading »

Feb 042015
 

 

(Wil Cifer reviews the new album by Venom.)

One of those bands whose name alone makes them legends. They often get credited for creating black metal, due to an album called, well… Black Metal. As a kid I took down their poster upon realizing they only used satanic imagery as a gimmick, like Slayer (and finding out Slayer were not satanists was like finding out Santa Claus wasn’t real). So this album puts Venom in the hot seat as it’s time to once again prove themselves.

The last album I paid attention to was Prime Evil which came out in ’89. This had “Demolition Man” on it rather than Cronos. So Venom really came to an end after Resurrection, and this is more of a Cronos solo album than a Venom album. The rest of the band is Danny Needham, who also bangs the skins for Tony Martin, and guitarist Stuart Dixon from Order of the Black Sun. Of course, using the Venom name is smarter than calling this Cronos. No one will buy a Cronos shirt, but you better bet they will be buying Venom shirts. Continue reading »

Jan 132015
 

 

(We bring you the premiere of a full-album stream of the new work by the primordial Finnish horde Archgoat, preceded by Will Cifer’s introductory review.)

This album is another argument in favor of the dominance of European black metal. This Finnish band have been spreading the unholy word since the church-burning second wave of black metal in the early nineties. They have left a trail of splits and EPs in their wake, but this is only the band’s third full-length… so it’s kind of a big deal.

Archgoat combine the more classic metal sounds of early black metal with elements of a more grime-coated flavor of death metal than an entity like Mortuary Drape does, even though the two bands circle a similar sonic landscape. Archgoat’s strength is in mid-paced and even crawling tempos, and the mood of the music is often shrouded in a heavy cloak of doom. Continue reading »

Jan 052015
 

 

(Last month we posted Wil Cifer’s list of 2014’s best black metal albums. Today we post his personal list of the year’s best metal, regardless of genre.)

Here are the top 10 metal albums. None of these are black metal, even though some of these bands might have once leaned that way. Of course, it’s partial to doom, but death metal fared pretty well this year with some old favorites coming back to kick ass.

10- Wormwood – S/T

These sludge merchants were crushing enough to keep the album in rotation.

Continue reading »

Dec 242014
 

 

(In this post Wil Cifer presents his list of the year’s best black metal albums.)

At this point half the bands in metal today are trying to be blackened something, so here are the top ten black metal bands, that aren’t death metal bands trying to grim it up or post- rock bands with some anguished screams mixed in… these are all bands that are so pure… so cold. The cream of the crop this year came from not only Norway, but also France, Canada, Sweden, Chicago, and the Deep South. So here we go… Continue reading »