One of the more confusing things about this project is it sharing a name with a progressive sludge band from Denmark. Though this is not the first time two bands have shared the same name, the fact both of them are unsigned and relatively on equal levels in terms of popularity makes it confusing at first. Just make sure you are in a cathedral of sadness before listening. Check your surroundings. Are there bells tolling in the distance masked by rain?
Spellcraft Ceremony is a debut 30 minute album (?) from a one man project heavily influenced by the works of Ruins of Beverast. I only say that since the tape version of this comes with a Ruins of Beverast cover. Even outside of tribute songs, the general atmosphere of gloom and inescapable doom which permeates this record is palatable. The atmospheres created by one person never feels stretched or thin and works well as a declaration of sadness voiced by one lone soul.
Spellcraft Ceremony currently is up for tape preorder limited to 100 copies. This tape is being released in collaboration with Moriendi Music and Corde Raide Productions. The only familiar thing I found with Corde Raide is being the only label to release Labyrinthique’s Demo MMXVI. Even if you do not want the Ruins of Beverast cover, the digital version for Alkymist is priced at 2 CAD which will buy you a ticket to a land of perpetual dusk.
Cirsium Kollektivet | 2-8-17
I feel the best way to start this review is to reiterate the description from the label and their confusion and excitement is all I need “Here we are…, I don’t even know how to describe the music of these sociophobic polish junkies. Imagine a underproduced blend of blackened ’70’s Punk and dirty Ska with occasional sprinkling of noise or at least something which’s only purpose is to confuse your dull mind… ” If that short description didn’t capture your imagination, then you and I are on different life paths.
Kwestia Kwasu, for all their bizarre antics, is a competent and cohesive band. Their collective vision pushes the music into the realm where experimental music should always aim. Being weird for the sake of being weird does not guarantee success. Challenging oneself to make music which lies on the outside of orthodoxy which triggers confused emotions and even more troubled mental images and being successful is worthy of merit. Kwas Topi Czas excels as an exercise in depravity with its sonic landscape a blistering wasteland of shooting alleys, punk basements, and haunted polka bars.
I was struggling to actually fnd the “experimetnal” tag since I never really use it to describe heavy metal. Though the tag of “avant” is sometimes use, Kwestia Kwasu seems uncomfortable even with that description. There seems to be little quest for art in the realm of Kwas Topi Czas and more of a primal embrace of weirdness. Experimental seems more feral in its description at least that is what I hope to use to describe music that is near indescribable.
Self Released | 1-29-18
there are a lot of things I enjoy about Wojtek. I love the fact they lay music in a way that is feverish and maniacal. I love the fact their aesthetic clings to a crossover between occult black and anarchopunk. I love the fact all of the song titles and album cover could be slight parody if not backed up by blistering chaos. I love the fact their band is named after a WWII bear adopted by the Polish military. With everything to love, listening to Slaved In Eternal Obeisance To Gravelords Of Old is similar to reaching for a hug but only getting arms full of razorwire in return.
similar to the tag of black/doom, black/punk is varied in its final mixture and can be different for each practitioner. While some blackened punk retains the musical structure of punk with shrieking vocals and others black metal with predilections for chaos, Wojtek is right in the middle with a record that could honestly be a black sheep in each of its parent genres. With nothing to call home, Slaved In Eternal Obeisance To Gravelords Of Old turns into a molotov cocktail of alchemist fire and hammers in the aesthetic of a city devoured in the flames of sorcery.
I do not know if I would like this better with a more orthodox album cover. I have been staring at the cheap Xerox quality drawing wondering if it would be better just with a black and white sigil of some sorts. After deep meditations, I feel the cover for Slaved In Eternal Obeisance To Gravelords Of Old is fitting as it showcases all of the wants and needs of this record and really acts an overture for the album. Prepare for nothing you are preprepared for.
Amor Fati Productions | 10-30-17
Holy shit, how in the world did I miss this. Not only is the album cover fantastic and everything I dreamed of but the sound is swirling black metal madness. Add to this the fact I am completely in the dark to what the name and album title means which means this is my new favorite record. It takes a special album to meet the aesthetic requirements of intriguing and an even greater one to slip by detection.
Mûspellzheimr is not new, rather this is the second full length along with a handful of demos. The lack of band members is to be expected as well as their absence on social media. Nidhöggr (the dragon/serpent who gnaws at a root of the world tree, Yggdrasil) follows the similar under the radar release Hyldest til trolddommens flamme in 2015. Nidhöggr is very apparent in its presentation that the madness which is flung at the listener at the beginning is going to be a theme throughout the record. From wailing to music that feels like it is about to fall apart, Mûspellzheimr redefines the idea of mental erosion with a record that is frayed sanity and composure. Nidhöggr is for a select audience. There really isn’t a single or unique track which would encompass the thesis of this record. Mûspellzheimr , despite a lack of information regarding themes and even the erasure of album tracks for roman numerals, one can surmise the summary of the band’s intent. Through some easy guesswork, Mûspellzheimr ‘s intentions are nothing less than malefic as well as hellbent on being ghastly.
I, Voidhanger Records | 12-8-17
I was halfway through reviewing this project’s 2015 debut before realizing it was released in 2015. Because of this, I can now see the scope of The Clearing Path as not just an atmospheric black metal act with more interesting aesthetic rather a black metal project that starts on earth and ascends to the stars.
Watershed Between Firmament And The Realm of Hyperborea follows the project’s debut Watershed Between Earth and Firmament. For anyone confused, Firmament is a cosmological divide between the sky and heaven (sort of) and Hyperborea was the land of Ice Giants according to Greek Mythology. Both of these themes that have been placed in the titles heralds a black metal record bent on exploring the cosmos through shrieks and fretless bass. Though I am not usually into progressive black, The Clearing Path succeeds beyond all measure and creates a record I am sure will be a hit with people needing this type of music. The question is no will anyone hear it. This record is being handled by I, Voidhanger Records which means a good shot for this to be heard by more than less people. The fact it is being released at the end of the year doesn’t bode well for any end of the year list however. Regardless of anything, the pace and focus of The Clearing Path doesn’t seem to follow normal calendrical systems rather something more ancient and astral.
Oh my. I think I would have stumbled on this eventually due to the album cover but Left Cross is a name I have an eye on due to their addition to the Blood of the Wolf Fest in Spring of 2018. Blood of the Wolf has become a fast way of learning about new Midwest/east coast metal/punk/??? bands that drink from the same cup of slime. By the sounds of Left Cross’ debut, the covenant of grime is real.
Self Released | 11-24-17
I need to ease up on my pre judgements surrounding atmospheric black metal. For a style that has a ton of directions, I feel I have been jaded to a legion of albums with trees on the cover and a fawning for post rock melodies. Mammon is tagged at atmospheric black on Bandcamp yet does not walk the line of nature reverence, philosophical transcendence, or emotional longing. Rather this Detroit based band feel cold as concrete, full of disease, and possibly undead rot.
Self Released | 11-29-17
Album art is important not only as an initial invitation but also as a showcase for music. Though I can not find any information on the artist “P. Seliverstov” since the band itself has no information, it is going to remain a mystery. The cover for Glance however is entrancing and artfully skilled at pulling the listener into a world of gloomy mastery.
Ván Records | 11-24-17
For the sake of brevity, I decided to just put “black” as the genre as a full explanation would be too long for the post. It only takes a couple of minutes into the opener “Vaporous Flame” to realize that Almyrkvi’s debut operates on a different level than most atmospheric black metal as well as what has become known as Icelandic black metal. With no real place to stand, this act seems content in gazing up at the stars or most specifically the void between stars.
11-13-17 | Transylvanian Tapes
It is strange to talk about music in terms of temperature but since being shared and sharing this band with others, the description and atmosphere of coldness reaching the point of ice is an apt description. Xenotaph is a west coast black metal project supported by the ritualistic Transylvanian Tapes. Media Morte in Vita Sumus is the debut full length after a brief round with a demo and split and proposes to be many peoples introduction into the cold unforgiving world of Xenotaph.