ASTROFAES: "Dying Emotions Domain"

As soon as I had heard Drudkh's first few albums back in 2006, I've been a sucker for anything related to these mysterious Ukrainian figures, and so I've tracked down a lot of Hate Forest and Astrofaes records since then. While some Astrofaes albums, most prominently Ancestors' Shadow and Heritage, stand very close to the same melancholic yet epic spirit as the personally revered Autumn Aurora, things sounded a little different on Dying Emotions Domain, their debut album from 1998 that now sees another well-deserved reissue via Negative Existence.

That said, don't expect autumnal, wistful acoustic chords here; Dying Emotions Domain is really fucking harsh and loud black metal. The wall of sound is a massive blast to unprepared ears. ”The Black Woods Theory” is a brief synth intro, setting a natural yet thrilling atmosphere (that, interestingly enough, has the same sample behind as Drudkh's ”False Dawn” in its beginning), but it is shortly after followed by the blast beats and relentless guitar walls of ”Fiery Mysticism”. The sound isn't utterly lo-fi, however, so everything is enough audible – including the keyboards that have a prominent role here as well. They play along the crude black metal pretty nicely, so I am not harassed by the keyboards at all unlike many other people I've heard of. Usually they follow the violent chord progressions, but sometimes they're given the role of an epic climax, as in ”At Nightfall”.

Dying Emotions Domain is surprisingly diverse and endurable for multiple listens. The album might take its time to open, but it eventually rewards. Considering the album's release year and place (Ukraine), it's almost a shame how little this album has garnered attention, because it is clearly above the average along with bands like Nokturnal Mortum (speaking of which, see the similar folk influences on ”Path to Burning Space”). I'm not saying that we're dealing with an essential piece of black metal here, but a really recommended album from two decades past, that's for sure. There's plenty of interesting stuff to find from Dying Emotions Domain and it should satisfy the listeners of the Eastern European black metal scene. Just skip the unreadable English lyrics (unless you're in for some giggles) and you'll do just fine.

3.5 / 5

RUINS: "Chambers of Perversion"

My previous encounter with this one-man black/thrash metal outfit was the seven inch split with Front Beast, but admittedly I do not remember much of Ruins’ side because I’ve listened to that piece of wax merely because of the other band. I might have to go back and give some exposure to the other half of the vinyl as well, considering how damn crushing the band sounds on Chambers of Perversion, an EP released last year on vinyl and later this year on CD via Negative Existence.

These nineteen minutes and seven relatively short tracks are pure vitriol. For the most part, tempo is kept at high levels, drums battering the usual thrash metal beats and guitar firing their power chord menace, not unlike an early Sodom record. The vocal output is propably the most distinct feature of Ruins: you could think of the high pitch of Werwolf (Satanic Warmaster) and Azgorh (Drowning the Light) and you are close to this maniac’s spewing that fits into the filthy, raw soundscape like a fist in the face. As implied, the riffs are simple but effective, and after the first few reckless pieces, there’s ”War in Heaven Part 4 (Megalomania)” which slows the pace a little and provides some very epic yet old school guitarwork. After that, the rapid hell is loose again, and continues until the very end.

There’s no way of recommending this to anyone else than those who still love to dwell in the very old school black / thrash metal traditions, where a proper studio production was more of a curse word. The compositional work here does not compromise, but it doesn’t even try as Ruins knows that good metal doesn’t always require anything truly innovative. Hellscourge’s recent debut Hell’s Wrath Battalion comes to my mind when listening to Chambers of Perversion, but I think that this EP surpasses that one, though both are good and, in fact, best records in this field I’ve heard this year.

4 / 5

OLD WAINDS: "Where the Snows Are Never Gone"

When speaking of old Russian black metal, Blazebirth Hall is probably the first thing in everyone’s mind. And not until now I’ve gotten to discover Old Wainds and Where the Snows Are Never Gone, an utterly filthy piece of ice cold black metal originally released on tape in 1997 and now seeing the light of the day again, though there has been various re-releases along the years already. And I’m really happy to get to discover this 90s gem finally.

Where the Snows Are Never Gone is a relentless and piercingly cold assault of noisy black metal somewhat similar to Ildjarn, plus there’s also minor hints of melancholy in the mix (”Winter Warriors”) reminiscent of e.g. Baptism, though only rarely. While drums keep blasting steady blast beats along with guitars providing menacing tremolo riffage throughout, the upfront screams are noteworthy as well, going hand in hand with the harsh, evil and cold atmosphere of the demo.

Needless to say, the production here is raw to the extent that the listener base will always remain minimal, but those with a taste for utmost rawness will see the appeal behind the wall of distortion. Indeed, the compositions are of surprisingly high quality: not that these songs would be carefully composed and finely crafted pieces, but the evil riffage here has an intuitive charm that lures for replay. The music sounds alive and ominous.

Where the Snows Are Never Gone is a worthy acquisition is you’re interested in hearing what Russia had to provide in 90s and you have already gone through all the available Blazebirth Hall bands. Recommendable, indeed, for the fans of a great deal of filthiness in their black metal. Enough said, I suppose.

3.5 / 5