HYPERBOREAN: "The Spirit of Warfare"

As a heavy consumer of hissing, dusty black metal tape demos, polished and melodic black metal has never triggered any proper interest in me. But if the former was always done as successfully as on Hyperborean’s The Spirit of Warfare, my general opinion would most likely change.

The most important thing is that Hyperborean doesn’t even try to sound really evil and morbid, hence the clear sound fits the soundscape which is laden with lead melodies à la Horn, though it could be better to mention some death metal bands at this point, since The Spirit of Warfare, with its myriad of melodies, could be seen better as a death- than black metal album, also due to its adventurous song progressions that are quite far from cold and monotonous black metal. However, one can still notice a clear Dissection influence running through the album’s veins.

At its best, The Spirit of Warfare is on ”Weapon Mankind” where a solid piano melody and emotional tremelo guitars work together beautifully, and another highlight is the ten-minute centerpiece ”The Last Stand of Leonidas and the Battle of Thermopylaye” that focuses more on creating atmosphere - with the help of subtle synths - rather than tight guitarwork. What comes to the album’s negative sides, there’s the production that, even if I can accept the overall clear sound, could sound more full, as right now there’s a slight lack of bass guitar and the drums are somewhat plastic.

It’s not that The Spirit of Warfare changes my life nor my general impression of melodic black metal, but it’s the kind of album that I really enjoy listening to every now and then, thus deserving a favorable rating. I could see The Spirit of Warfare as an ideal album for someone not really into black metal, as his first steps towards an explorable genre. And, logically, those merely into the filthiest of sounds better avoid this one.

3 / 5

BODYFARM: "Bodyfarm"

On their eponymoys debut EP, initially self-released last year but now reissued by Abyss Records, Bodyfarm explores the territories of simple old school death metal, though luckily the material doesn’t fall to any exact geographical location musically, at least not too evidently - I think that pretty much everything is melted together here (with perhaps a slight dominance of the Swedish underground), forming an enjoyable but definitely unsurprising little album.

In spite of being their first release, the band sounds really mature: not only the production is bright and massive, but the execution of instruments seems flawless in all departments. Song-wise, the EP starts with a rather unnecessary and pompous symphonic intro that already takes a nice amount of the EP’s running time, but after that ”Bodyfarm” attacks with menacing tremolo riffs and blast beats not unlike Bloodbath - the similar style is later utilized on ”Heartraped”. ”Final Redemption” and ”Slaves of War” then, on the other hand, focus on slower tempo, chugging riffs and morbid atmosphere, belonging to my personal favourites of the whole.

Bodyfarm is ultimately rooted in old school values without going any further in innovation. What they batter here is well done and engaging but it also feels like a brief teaser of what’s to come, that’s what I hope at least. Thus said, Bodyfarm doesn’t seem to be in its full glory here on a short EP release with mere four tracks, but perhaps I’m able to capture a better picture of the group when a full-length arrives.

2.5 / 5

HINSIDES: "Universe Aspire in Mysticism"

Three words could sum up Hinsides’ sophomore album Universe Aspire in Mysticism quite accordingly: Norwegian black metal. Well, that’s not exactly what comes to mind when the album begins with its 7-minute intro ”Dark Matter Dawn” consisting of weird sounds and e.g. guitar feedback, but when ”666 to Nero” kicks in after, the deal is clear.

And the deal is a bit too clear, I’m afraid. Almost 50 minutes of cold, evil AND unsurprising riffage gets easily dull and makes me wonder what, if anything, makes Universe Aspire in Mysticism better than all the others in this field. Anyhow, atmospherically the album does its job well as a pieringly cold assault. Guitars are heavily distorted, tempo is often at middle or fast levels, vocals in the usual high-pitched style, evil melodies with slight flirts with sadness... Nothing really stands out. Everything is safe and sound. By the book. To make some comparisons, a little less melancholic version of Blodsrit or Amystery comes to my mind, in addition to the obvious influential bands.

Universe Aspire in Mysticism is one of those albums that I can always put on the background and find it unharassing yet also quite unremarkable: it’s indeed a decent album that has just been done many times already. Some originality to the mix would have made the album a lot more interesting, especially because the album runs for almost 50 minutes. I’m sure these guys have skill to evolve their sound a bit and I’m hoping they don’t consciously try to restrict that too much.

2,5 / 5

HAT: "Vortex of Death"

With all the possible jokes about the band’s name aside right in the beginning, Vortex of Death is a rather well-done album of uncompromising and evil black metal with all the necessities inside: malicious atmosphere, simple riffs and underground production.

To be honest, though, Vortex of Death was uninviting at first. The production is fairly poor due to the overall powerless sound - guitars are really thinly buzzing - and clearly programmed drums. But there was something in the music that kept me getting back to the album and still keeps: in spite of all the clumsiness sound-wise, the album is somehow charming and songs like ”The Flesh I Wear” and ”Slaves of Insanity” comprise impressive guitar lines. ”Tilintetgjørelsen” ends the album with epic soundscapes, another standout moment on the album. Undertrykker’s raspy screams are one of the best features here even if nothing new, compensating for the otherwise weak production.

Multiple listens reveal that there’s more depth to the record that it first seemed: there’s some synths to be spotted occasionally and the riffs just start to sink in better in time. Countess is what comes to my mind when listening to Vortex of Death, but just a more devilish version. There’s no way I could recommend this to someone only into modern technical black metal acts, but those who don’t mind some clumsiness and not-ass-kicking production, then do yourself a favour and look into this.

3,5 / 5

BANE: "Chaos, Darkness & Emptiness"

On their major debut Chaos, Darkness & Emptiness, Bane deliver a decent piece of diverse melodic black / death metal: this 42-minute whole is divided into three sections that present somewhat different musical styles, starting with the violence of ”Chaos”, followed by ”Darkness” with its more gloomy atmosphere, and ending with the partially doom metal influenced ”Emptiness”.

The album sounds rather modern, fairly bordering on too polished production - especially the somewhat triggered drums - but is still enjoyable to listen to. There’s a lot to discover from the well textured soundscapes of the album: some synths are included (”Abhorrence”), acoustic guitars appear every now and then - on ”Lost Shadow” they even dominate, in fact - and there’s some nicely done cacophony towards the end of ”Pandemonium”, for example, but the main focus is on powerful rampage created with riffs and beats.

Singing style ranges from low grunts to high-pitched screams, satisfying both black and death metal listeners, because this indeed is a mixture of both styles and even some more (hear the progressive tendencies on ”Plague Upon Yourself”). Despite the varied nature of Chaos, Darkness & Emptiness, there’s nothing really unique to find from here, so that the record is more like a mixture of many things done before. Anyhow, Chaos, Darkness & Emptiness keeps my attention throughout and proper fans of modern deathened black metal should give this a go, they could find more to dig from here.

2,5 / 5