Where Only Spirits Walk Upon the Overgrown Paths

Walknut (Russia)

Graveforests and Their Shadows

April 24, 2007

Keep moving forward. What's done is done. Iron dreams propel momentum under grey skies heavy with ghosts and mystery. Death and tragedy lay as long forgotten songs, pungent with the smell of graves and autumn soil. Only the vast horrid woods speak out over endless fields and riverside barrows. Only the truths of their neverfading memories are heard. Acceptance will be granted to those who embrace the deadmen, the ghostmen, the wolfmen, the murderous haunting spirit of winter in us all. Martially driving rhythms command glorious ashen monoliths of pagan melodic sorcery. The constant forward motion from beginning to end anticipates a spiritual progression that awakens the senses to the silent witnesses of the grim woods throughout the rises and downfalls of the past. A thrust of stellar grief spills from the horned moon, illuminating the titanic ruins, cold as the hearts of men who have forgotten their roots. This solitary introspection is not a breezy meandering aloof self-analysis, it's a surging gale of empowerment and grounding force. The best Russian band I've ever heard, a project growing out of the obscurely influential Forest. For fans of nature based eastern European nationalistic black metal loosely along the lines of Drudkh, Hate Forest, Astrofaes, Burzum, etc. Just like Guinness, this is for strength. Read more for a listen.

Alien Speaks

Oranssi Pazuzu (Finland)

Muukalainen Puhuu

April 22, 2009

Thrusted through the cosmos, a parallel universe, a mirage from 1968, but utterly alien. Raven guides the way, a black creature of ominous portent as wormholes engulf all that was thought of as real, swallowed through a vacuum of primordial consciousness, leaving nothing but a swirling halucinogenic maelstrom of Astronomy Domine fermentation, residing within a gaping black void of dark matter and cold atmosphere of Danjo's Zero. Cascades from the heavens occasionally strike amongst the stars with a disorienting feverish aura, while marching rhythms sweep forth out of extraterrestrial insectoid origins. Emanations of THC storms brood with ghostly calm and krautrock sessions of improvisational jam shuffles through extrasensory states of nodding astral dub, haunting visceral tribal trances and bleary malicious rave. Let this alien transmission speak to you, and travel to where evil has no name. You will trip hard on this black acid. The music sounds like what the cover artwork looks like.

Everything is Falling, Can You See It?

Altar of Plagues (Ireland)

White Tomb

April 17, 2009

One day, when everything collapses into chaos, Ireland's Altar of Plagues' sound will be known to all, as the embodiment of urban decay and complete deterioration of contemporary civilization. It will be felt beforehand, as a swelling shockwave in time of the disaster yet to come, but will strike with sudden urgency and overwhelming distress. Awareness comes slow, if at all. Regression to roots and bark will be a painful bloodletting of the land, but from the wounds will come grain again. The destruction of everything we know, the lands and seas opening great cracks in the earth where mankind gathers upon the cliffs under black clouds of ash and cast themselves to the abyss, reigns down until only silence and desolation remains. The mist chokes the land as the forces behind the waves, the forces from the skies, continue their relentless attack, a replenishment of primal wisdom, a truth to be grown out of the ruins. The atmosphere of this is bleak, and dense as concrete, but organic growth provides a warm pulse of inevitable cyclical cleansing. This plague is a purging. Realize our descent. Listen to this album below. Hugely influential and inspiring grimy blackened sludge post-doom apocalypse.

If the Light Takes Us

Burzum (Norway)

Hvis Lyset Tar Oss

May 15, 1994

Well, it looks like Burzum is coming out with another new album next month, so I might as well get this post out of the way. For all intents and purposes, this album is absolutely mandatory. I don't care what your personal disposition is, if you even marginally enjoy any kind of black metal (or really anything remotely 'blackened'), this is a must-hear. While I regard the subsequent release, Filosofem as Varg Vikernes' absolute peak, it was also conceived as a backlash against the rising global popularity of the genre, whereas Hvis Lyset Tar Oss is the epitome never to be reached again for what black metal as a whole is all about. This is what it sounds like. This is what it represents. This is where it comes from. This is required listening. A solitary quest for answers, a bittersweet youthful rebellion against modernity, brooding atmosphere of distant hateful cold to the point of trance-like catharsis. The intensity and singularity of intent can capture equally both the dire fury and reflective solemnity of nature itself. Step inside and leave your politics at the door. Listen below, read more...

Burial at Sognefjorden

Windir (Norway)

Likferd

March 27, 2003

The late primal warrior Valfar's final gift to the earthly realm was a resonant swansong of Windir, a masterful homage to his homeland, Norway. Norse and viking heritage provides the pulse and the life blood of all releases by Windir, and here, such rich emotional tapestries are carefully composed on the scale of symphonies to an utterly astounding achievement to which all current forms of viking/Norse/historic/folk metal albums strive to compare. Valfar's fierce and admiral persona is portrayed with magnificence amongst the lyrical content and noble ideals represented through selected artworks and the driving current of the general themes and sense of (in)humanity weaving throughout this work. Despite the electronic experimentation that blossoms around the edges of much of the tracks, there is an aura of delicate grace and humble pride noticibly absent in most of today's regurgitations of 90's romanticized odes to times long past. Though pummelling aggression, such as found in "Despot" and "On the Mountain of Goats," flaunt a merciless strength of character and backbone. Today, remember a fallen star with a listen. RIP.

The Wilderness is Gathering All Its Children In

Primordial (Ireland)

The Gathering Wilderness

February 7, 2005

Well, tomorrow is the big day where everyone drinks their faces off and allows the inner Irish to shine their most deepest shade of emerald. A great excuse to bust out some aged whiskey and jig around like mongoloid leprechauns and reacquaint ourselves with porcelain thrones all over the world (more so than any other regular day, I suppose). When I think of Ireland I think of Primordial (...and drinking). When I think of Primordial I think of The Gathering Wilderness (...and drinking). Despite the strong current of Primordial's homeland providing the wind in the sails of this coffin ship, these epic storytelling odes swell with the universal resonance of nature and mankind's place within it as a whole, going beyond any particular history, but treading the myths that have formed us all. The knots may be Celtic, but the threads are literally primordial. So raise a glass, to all we live for, to all that's worth dying for, to brothers and sisters, to fallen comrades before us, to necessary struggles and pride for our glories. Make a toast, raise your voices, for we remain bloodied yet unbowed. Read more for Primordial's jaw-dropping, heart-wrenching, crowning achievement. Sing to the bitter end.

We are Just Cut-Throat, Worshipping Sin

Bulldozer (Italy)

The Day of Wrath

March 13, 1985

Bulldozer's roots stretch way back to 1980, but for various reasons and circumstances, took 4 years to stabilize the lineup and release their debut material, resulting in 1985's infamous The Day of Wrath. For all intents and purposes, this is primitive proto black metal, in its gloriously neanderthal infancy. Imagine a dirtier uglier more obnoxious Venom, but unlike the Brits, have only grown in credibility with their influences on the extreme metal underground. Besides, how can you not expect anything but pure raw sick and twisted excellence with a cover like that? The tunes are backed with whiskey-breath over-the-top attitude ("Cut-Throat", "Whisky Time"), motör powered hellspeed ("Fallen Angel", "The Great Deceiver") and straight up black mass rock and roll ("Insurrection of the Living Damned", "Welcome Death"). Grab a beer and celebrate the birthday of a mildly significant, yet thoroughly fucking awesome piece of obscure metal history. Read more for an album stream.

Destroy Their Modern Metal and Bang Your Fucking Head

Darkthrone (Norway)

Circle the Wagons

March 8, 2010

Darkthrone, of course, need no introduction. In fact, Darkthrone don't even need to be talked about, they're a mainstay. Circle the Wagons came out a couple years ago, and seems to justify how sirs Nocturno Culto and Fenriz have only been getting better and better. This is working class black 'n roll, a full moon escape into the woods after another bullshit week goes by where hedonism reigns supreme, and whiskey flows freely through the streams. The more they wear their crusty Motörhead by way of Manilla Road influences on their beer soaked sleeves, the more of their true sound is defined. Well, its off to work I go, take a listen below...

Triumph of Death

Hellhammer (Switzerland)

Apocalyptic Raids

March 7, 1984

Apocalyptic Raids is one of the most important releases as far as the evolution of extreme metal is concerned. Despite being but a minor blip on the radar at the time of its release, this demo EP provided a schockwave that, along with Venom, Bathory and Bulldozer collectively became the first wave of black metal. This was released only a couple months before the partnership between Martin Eric Ain and Tom G. Warrior overflowed the confines of Hellhammer and began the next chapter as Celtic Frost. Despite Warrior's supposedly unfavourable hindsight towards his early work, this was some of the most extreme music ever heard at the time. Early use of the gothic black metal font, hideous depiction of a hyperphallic demon drawn by Warrior himself, the demented sonic madness, overtones of psychopathy, etc. Euronymous, of Mayhem, was inspired to name himself from the disturbingly masochistic centrepiece "Triumph of Death". 28 years later, the reek of death permeating through today's lo-fi, death metal, chunky crust, black metal, filthy doom and other morbid combinations continues to owe their existence to this gloriously foul collective. Read more for a history lesson...

Rhododendoom in the Verdent Realm

Botanist (USA)

I: The Suicide Tree/II: A Rose from the Dead

July 2, 2011

The only instruments are drums, vocals and hammered dulcimer, which kind of sounds like a haunted piano going through an octaver pedal, which makes this the most organic black metal project I've ever heard of, no need for distortion, electricity, or much technology at all, the guy could pack his equipment and trek to the most secluded isolated cave in the deepest darkest forest and sound just like the album. Grindcore arrangements, black metal textures, and botanical aesthetics. Truly unique today. Gives me the impression of praying mantises, stick bugs, venus flytraps marching towards insect warfare. Creepy, unsettling vibes, like an accompaniment to a vintage silent black and white film depicting our world as a living, breathing organism where insects perform the job of white blood cells and eradicate the virus that is humanity. Or perhaps one of those National Geographic shots where they speed up the time of some kind of animal carcass getting eaten way and decays into the soil. Vile, venomous, and virulent. The lyrics read like a botanical encyclopedia. Definitely an acquired taste, but all the better for it. The second album, II: A Rose from the Dead shows noticeable improvements in overall song writing and cohesiveness from beginning to end. Read about the concept of the Botanist and the universe he exists in, the Verdent Realm, here. Read more to listen...

Living Life Beneath the Hammer

Enslaved (Norway)

Vikingligr Veldi

February 22, 1994

Yesterday I posted Emperor's 1994 full length debut. Today, it's the equally mandatory debut full length by Enslaved, which was released the day after Emperor's. This is a good comparison between albums. I find Enslaved has a warmer sound on this release. Whereas Emperor had a focus on the overtly occult/magical realm of subject matter, and instrumental technicality that forces closer analysis and a more inward, exclusive disposition, Enslaved differed themselves from most of the big names of the second wave of black metal through their emphasis on more of a natural homeland or viking perspective from the get-go, conveying a broader outlook, with simplicity in repetition and a more outward yet inclusive disposition. Musically, this is some of the earliest threads of what would eventually weave into the mossy tapestry of recent American waves of black metal (Weakling, Wolves in the Throne Room), spun from the very locks of Odin that are used today in Norse or pagan oriented black metal (Drudkh, Winterfylleth), but washed in a mildly hallucinogenic witches brew that's shared around amongst more avant-garde or progressive black metal bands (Sorgeldom, early Blut aus Nord). This can easily be played as an ambient stargazing album. Read more for the full stream, I highly recommend it.

My Wizards are Many, but Their Essence is Mine

Emperor (Norway)

In the Nightside Eclipse

February 21, 1994

Out of the familiar Norwegian bands of black metal's second wave (Mayhem, Burzum, Gorgoroth, Enslaved, Immortal, Satyricon), I find Emperor to be of conceptually higher class. Their debut, Into the Nightside Eclipse is an untouchable masterpiece. There is something noticeably romantic about the gothic symphonic elements inherited directly from King Diamond, and ambitious, epic songcraft. Indeed, the compositions often rival those of full blown orchestras in their depth of scope and density of instrumentation. It can sound downright religious at times, that is, if you are capable of gasping through the suffocating constriction of such an all-out assault. Just listen to "Cosmic Keys to My Creations and Times". Thankfully the menacingly grim attitude of drummer Faust and rhythm guitarist Samoth kept the reigns on Ihsahn's bombastic persona, keeping the sound grounded firmly in the grim and trve end of the black metal spectrum (as opposed to the cheap hollow sideshow thrills offered by Cradle of Filth, for an unfortunate example). The cover art is also suitably grandiose for the music. Bask in the world "Beyond the Great Vast Forest", under "The Majesty of the Nightsky". This is black metal royalty. "I am the Black Wizards". Indeed.

Black Metal 101 with Your Host, Fenriz

Here's your definitive course on the history of black metal. The one and only Fenriz of Darkthrone is your host, as he outlines the general evolution beginning with Black Sabbath, and traces various threads of influence that have seeped into the mix throughout the 80's, highlighting a broad spectrum of prominent artists, and a who's who of the first and second waves up until around 1991-1992. He provides a wealth of homework to look into, a comprehensive list of notable bands to be aware of, including such obscurities and personal favorites as Bulldozer, Sarcofago and Hellhammer, among others. The course concludes with the explosion of the scene when it truly becomes global and difficult, if not impossible, to catalog each and every contributing band and where fragmentations and subscenes/subgenres split apart like fractals. I recommend giving this a watch, it's worth the insight and will keep you busy with new discoveries, all worth checking out. Class starts here. Read more for the videos...

Temples of Painted and Defleshed Bones

Dodecahedron (Netherlands)

Dodecahedron

January 20, 2012

So this is one of my favorite releases so far from 2012. I hate to add to the Deathspell Omega comparisons flying all over the blogosphere, but the influence is undeniable (Listen to I, Chronocrator). These guys seem far more approachable, however, with a more exciting jazzy core, most prominently shown off with the drumming. However, whereas DsO strangles and can wring out of your neck a soaring cerebral apocalyptic melody amidst the chaos, these geometrists go for a more blunt rhythmic bludgeon, more of an earthen physical attack, if you can pardon my grasping for metaphors. I also hear the atmosphere of Ulcerate, occasional ambience of Altar of Plagues and the mind warping technicality of Gorguts. It's as much ethereally atmospheric (Listen to View from Hverfell II) as it is precisely deliberate (Listen to Allfather). This is one hell of a debut album. Great cover artwork. Try and wrap your head around this one, no math degree required.