Self Released | 1-18-18
After a short rest following end of the year festivities, this is the first Tape Wyrm review of 2018. I thought it would be fitting to celebrate the passing of the new year with a record that sounds like the collapsing of worlds and the coming of an age of darkness.
From a very Latin background, the title for this EP translates to something like to cause a short space of time. While the track titles are rendered in cryptic aesthetics, the lyrics are still Portuguese which yield abstract and cosmisc themes. If the album titles and track lengths were not a giveaway, Benthik Zone reaches for the heavens and tries to pull down the blackness beyond the light.
I am just learning about this band and their records as Via Cosmicam ad Europam ab Gelid Inferis was released in September of 2017 and would have fit perfectly on this site for much of the same reasons as their 2018 did. It sometimes takes a band and their releases to reach certain places much in the same way light does across the galaxy. For now, Causa Modicum Temporis Spatium has arrived coming from somewhere beyond the heavens.
Self Released | 10-14-17
If one hasn’t noticed by now, the last few reviews for this year are things that I initially missed. These things are still under the radar for the greater scope of heavy metal but still fit into the strange idea of Tape Wyrm material. Cavurn is an unsigned/independent death doom band from Washington whose demo/rehearsal is one of the top tier releases of the year and for that they need revisiting.
Death / Doom is a strange genre since each time it is employed, it is unique among the practitioner. Some bands lean more on the side of doom with harsh vocals while other played a rotted form of death. Cavurn is in the middle as they employ both aspects of the genre and seem to glean the most interesting aspects of both. From the monolithic atmosphere of doom married with the classic riffs of death, this demo shows a band that already has everything figured out and is ready for the next challenge.
There is little way, anyone can kep up with everything released in the year. Other well known releases like Witch Vomit, Vanum, and Cult of Eibon are still excellent just out of the range for what I hoped for this blog. Cavurn seems to fit well inside the other releases with a demo that is worth anyones attention despite their attraction to lesser known metal.
Self Released | 6-1-17
There are sometimes a great record comes out at the very end of the year and other a great record comes out in June and I just completely missed it. There will never be a time when I can be certain I heard most or even half of the lesser known metal this year even in the styles I enjoy. Sørgelig fits everything I enjoy about black metal with a kickass cover and I still missed it. This is what is hilarious about new music as something that is destined to be enjoyed is sometimes impossible to keep track of. For me I am glad I got the opportunity to catch this miserable record of despair.
Forever Lost is the debut EP by a greek depressive black metal act that leans on the side of raw production. The only member connection I can see is a shred member with Isolert. It does not really matter as Sørgelig is unique in the fact it plays depressive black metal that does not stale under its common narratives. Songs like “The Hill Where I’ve Buried my Casket” are unashamedly purple in its description but the energy and emotion within the track never becomes silly and out of place. With the addition of the non-DSBM aesthetic of “Alcoholic Invasion,” Sørgelig does a fine job in a style that is overrun by mediocrity. Even though two of the four songs sound similar to the point of being twins, Forever Lost is a fine EP for a new band to start the new year. I am sure I will be seeing their name again as long as I do not wait until the last day of the year to finally pick up their release. While writting this review, I am sure I managed to miss three great releases from other bands.
Self Released | 12-29-17
Lowfidelity or lo-fi is an interesting aesthetic to embrace since for the most part it is a concious desicsion one employs on their sound. My vierw on lo-fi has always been positive as I feel it can enhance an already raw record to the point of being sublime. OPther times it xould muddy the sound to the point where things are not as effective. I am still unsure where I stand on Morta and their debut demo.
The Descent of Innanna is a fantastic beginning with a sound that is well structured. From the atmosphere to the wailing shrieks for vocals, Morta has all of the right tools for a fair shot in the world of black metal. The only drawback for this demo is the lack of clarity with the energy stifled under a blanket of fog. This isn’t to say their music would be enhanced by better production rather the guitars and even drums could use a step up in the mix. At the end of the year, I find it humorous who I am giving bands advice on production when just being a reviewer on an internet blog. I have no sway when it comes to band’s future rather just predictions based on initial presentation. The Descent of Innanna is a fine first start and I wish the band luck on their descent in 2018. If Morta is the next Tomb Mold or any other underground hit, I will be pleasantly surprised and thrilled.
Self Released | 12-29-17
Aesthetic is important when it coems to releasing metal records and Mal Du Siècle has thrown its lot in with one specific style. If the slightly lo-f production was not the biggrest tip off, then the distressed tape cover that looks right out of a photocopier should be a big indication that it is the cold winter of 1992. The more I look at the cover for Dark Ceremonies Under A Cursed Moon, the more I marvel at all of the ways it leans towards the Norsecore style. I think all of this effort in trying to achieve an aesthetic would be wasted in not for the fact that Mal Du Siècle plays a decent brand of black metal, one fitting of all of this work.
Dark Ceremonies Under A Cursed Moon is listed under raw black metal for Bandcamp yet their production is only cosmetically lo-fi. Aside from a muddy wall that softens the music, the levels in the demo (?) are surprisingly well adjusted. The music on Dark Ceremonies Under A Cursed Moon is fierce and effective and moves beyond just a recreation of Norsecore style black metal. For as much as I talk about working to an aesthetic, Mal Du Siècle excels in black metal without much effort leading me to believe they could do this for many albums. Mal Du Siècle is still a mystery as this is really the only record on Bandcamp aside from an earlier single. there is no personnel info nor any pictures of the band. I am guessing this is a on person act but it could be two. there is no Metal Archives and yet again we are at the end of the year with a mystery demo. Perhaps this is what was intended and for that I can not complain.
Self Released | 12-03-17
Before we begin, let us state for the record this release is technically 2010. From the Bandcamp: “Original cassette only available at the Heavy Focus festival in April 2010. Limited to 5 hand numbered copies.” The one video from Heavy Focus Festival is so bizarre and flabbergasting, the whole thing sort of makes sense. Buried Amplification is at this moment, a record that is for a small audience traveling to an intimate place miles below whatever graveyard we entered.
Self Released | 9-14-17
No Metal Archives Page. No Facebook page. No additional information about this project. Fuck it, I can call this whatever I want since no one seems to be correcting me. With the additional picture of two figures in non metal looking raincoats, the first (?) demo (?) from Skrik poses a lot of questions which are answered in counterattacks.
Self Released | 12-2-17
there is a lot of weird shit to discuss with this record. Just by the Bandcamp alone, we have a set of polyhedral dice, strong allusions to ancient magic, and an album cover that looks like a grind record which even has two purple strips on the edges. I do not know why these things are grabbing my attention other than it seems to add to the mystery of a project which seems to be casting spells via black metal.
Self Released | 12-1-17
I have had a problem with a lot of depressive and atmospheric black only in that there is always a lot to choose from. With this comes the dulling of what is suppose to be the linchpin of the music which is emotional resonance. When you can 50 bands doing the same thing all releasing records at the same time, the impact can be muted. This of course is true for most genres of metal but sort of ruins the aesthetic for certain types. This is why it is interesting when an album art can grab your attention and the music can hold it in place.
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.