CHARNEL WINDS: "Der Teufelsbund"

In many ways, Charnel Winds could be said to be the culmination of certain bands hailing mostly from Jyväskylä, an area that seems to spawn hell of a lot of quality when it comes to utterly dark, esoteric black metal. We've got Arvet, Verge, Blood Red Fog, Cosmic Church, Saturnian Mist and a ton more and all these are related, and not only by sharing members, but more importantly they are connected by similar occult approaches. This means that Satan worshipping isn't just a gimmick here unlike the case is with a plethora of other bands, no, this is authentic reverence of the Devil and scorn of all mundane.

But what exactly makes Charnel Winds stand above even its brother bands? A pretty short answer would be that their debut album Der Teufelsbund has been in the works for many, many, years, it has been perfected for a long time (and for curious readers, the process of the album's creation has involved e.g. one death and several visits to mental hospitals), and a few years ago the album's demo version was already hyped, people saying that this would become a definite milestone in Finnish black metal. So when Werewolf Records finally unleashed this painfully delivered monster, the expectations were undoubtedly high.

And due to these expectations it might be why I don't think that Der Teufelsbund is exactly THAT revolutionary, though we're still clearly dealing with a record that is more convincing than 99 out of 100 new black metal albums. Actually, the term black metal might not be enough here as the album's diversity will show later on. Starting with the epic, ringing melodies of ”The Spear and the Crocodile”, a more than apt grand opening for the album, the listener is slowly introduced into the albums sinister atmosphere. Rhythm guitars rumble steadily while a discordant, tremolo-picked melody plays with Wyrmfang's impressive rasps. I'm somewhat reminded of Mgla actually, and as I've said before, I consider Wyrmfang to be among the best vocalists ever, so he definitely fits here. ”Das Leiden” crawls at first like a track from Verge's latest until it explodes into magnificent choral vocals. At the latter half, the discordance is taken a level higher, resulting in a really tasteful riff totally out of hands.

”Chained Kûmara” might surprise the listener a bit, beginning with acoustic, mysterious Eastern melodies. The singing is this time totally clean, a strong voice proclaiming its message. The next two pieces, ”Assembly” and ”Shadow” are a tad more regular black metal pieces, but of high quality anyways - ”Purification of the Sacred Black Heart” includes once again clean vocals and the album's first properly (yet only momentarily) melancholic guitarwork, and I think it's one of the most beautiful moments I've heard in music in a while. ”Die Extase” kicks in with a nightmarish atmosphere with a prominent bass guitar line, later once again including clean vocals, lyrics this time for Johannes Nefastos' pen.

It seems quite unnecessary to write long paragraphs detailing different parts of every track, so those two above shall suffice, most likely giving you enough hint of the album's overall sound. What I personally find more important is the lyrical side of the album which isn't anything easy this time. Musically, I don't think Der Teufelsbund is really challenging if you're willing to accept the untraditional elements in their black metal, but lyrically I've had a lot of headaches over the texts, and I still don't think I've understood a lot, if basically anything... But as far as I'm aware, it doesn't have a strict theme even according to its creators. What comes to the overall theme, I'm definitely seeing the influence of the Hindy deity Kumara here everywhere, or more precisely his weapon, the divine javelin Vel. I'm going to quite a few bits from a certain Saiva guru I came across while doing a little research:

”Its blade is wide, long and keen, just as our knowledge must be broad, deep and penetrating … the holy vel is our release from ignorance into knowledge … When we perform penance and beseech His blessing, this merciful God hurls His vel into the astral plane, piercing discordant sounds, colors and shapes, removing the mind's darkness. He is the King of kings, the power in their scepters.”

In Der Teufelsbund's booklet, there's many pictures of this spear piercing the principle of Satan (e.g. snake), which has made me wondering why so. Isn't Satan supposed to be more highly revered here, not as a lie that should be pierced? The only proper reason I can come up with is that is symbolises the overcoming of Satan's tribulations, the process of realizing the necessity of the hardships given by Satan. From that perspective, the Devil has a more important role than what I initially thought.

As the album is divided into seven tracks, that already rings some bells of alchemical, theological, planetary and whatnot correspondences. I can't say I'm enough familiar with the texts that I could come up with any perfect theories, but some wild guesses I can always throw: ”The Spear and the Crocodile” I see as the process of fermentation, as the evolution of life to produce higher consciousness, mystical awareness. And on ”Das Leiden” I can see dissolution, the cleansing of inferior shapes of the earth. The ending track ”Die Extase” could refer to coagulation with its correspondences with the Sun and gold. With these little thoughts I could be terribly wrong about everything, as there's still a lot to digest from the lyrics. But I can not hold on to writing about a reviewable album for eternity, so...

Der Teufelsbund has been a headache, but a very welcome one, shaking the spiritual me a little more awake, if nothing more. But such philosophical ponderings are not required if you are just to check out well-done, interesting black metal. Sound-wise, the album is honey to the ears: it's not lo-fi at all, but professional and full – it should also please those who generally dislike scruffy productions. Needless to say, strong recommendations to this album from yours truly. Thoughtful compositions, good production, challenging lyrics, great artwork. You don't see albums like Der Teufelsbund everyday.

4.5 / 5

HERESIARCH: "Hammer of Intransigence"

Heresiarch's debut EP Hammer of Intransigence is an example of a record that simply has so devastatingly good looking cover art that you are bound to check out properly what's inside. And in this case the exploration didn't have only positive results, though it is of course certain that these five tracks plus intro are one of the cruelest pieces of black / death metal the Earth has witnessed in 2011.

A little research reveals that half of the band's line-up consists of Diocletian members, so the professionality of the musicianship doesn't surprise so much anymore: Hammer of Intransigence is crammed with a fuck load of insanely fast and precise (yet not triggered) blast beats, and... Well, the drums – snare in particular – dominate the soundscape so heavily that the only thing I can properly remember of the EP afterwards is the monstrous drum work. Hence multiple listens are required, but it doesn't take away the fact that this record is mixed in the same spirit as Proclamation albums are: much focus has been given to the pummelling rhythm section to the detriment of actual riffs, which are a level quieter in the mix. At slower parts the murky riffing does get more distinct, but there's not much slowness on this record in the first place... My favourite track ends up being the last one ”Intransigent” that has the first and last flirts with some kind of melody. Though it's just something really vague, it already creates great dynamics.

So if you're looking for an absurd (that is not said negatively) trip at some very harsh, violent and crude black / death / war metal, and don't really mind if the compositions themselves say nothing, Hammer of Intransigence is a great buy. The atmosphere here is definitely top notch, and sound-wise there's really nothing to complain about: this is a really effective mass of destruction. What I'm lacking here, however, are the memorable riffs. I know that's not a necessity for everyone, and with some bands like Proclamation that applies to me as well, but I find it hard to give Hammer of Intransigence a praising rating just due to the overall feel they have going on in their music.

2.5 / 5

DROWNING THE LIGHT: "Oceans of Eternity"

It is easy to notice how much Drowning the Light has developed throughout the last few years. Lately I've been listening to their (or back then, his) 2007 albums, those scruffy sounds and cheap drum machines of e.g. A World Long Dead and To the End of Time, and when compared to such late efforts as their brand new Oceans of Eternity, the difference in quality is tangible. While the embryonic material has its own charm, the 2011 version of the band is heaps better when it comes to the compositions.

The sound is, however, still really lo-fi, the guitars and steady blast beats like a distant waterfall, so Drowning the Light hasn't really done any compromises; in fact, the production is more lo-fi than on An Alignment of Dead Stars. Oceans of Eternity continues in the vein of the latest full-lengths, this particular style in which they embarked on on The Blood of the Ancients two years back: largely melancholic and epic, at times almost melodramatic, underground black metal that momentarily gets into harsher, menacing sections. On this newest effort, things start familiarly with ”As the Shadows at Dusk Reach Our Enemies Throat” and its tremolo laden epic guitars as well as choral synths. The following title-track includes the first properly aggressive riffs but only for a while, and then ”The Cataclysmic Cycle of Renewal” and ”Oppression & Tyranny” get the mood back to the melodic, familiar soundscape. The latter is a particularly depressive and rather slow-paced piece.

Just when things could easily turn into dullness due to the repetitive nature of the songs, ”The Key Still Not Found” brings something new to the table. It is comparably a more haunting piece, and especially so when the ending part kicks in with its Atra and Ill Omen esque graveyard atmospheres: rotting, ghastly black metal! This highlight of the album does not lose at all to ”The Lunatic Tide” that also incorporates a tad deviant riffing from the usual Drowning the Light scheme. ”Drifting Away in a Sea of Sorrow (Part II)”, a peaceful interlude pays homage to its first part from An Alignment of Dead Stars and serves as a welcome breathing moment until the last black metal pieces of the album, ”The Poison Kiss” and ”The Runes Are Thrown & the Bones Are Spread (A Hymn to the Apocalypse)” start, these two ending the album in similar compositional style as the journey began: climatic choral synths atop the ringing, beautiful melodies and Azgorh's trademark rasps.

In all aspects, Oceans of Eternity is your very traditional Drowning the Light album, but heck, I can not deny the power of these riffs this time. There's been plenty of fillers on previous efforts, but this album seems like a really concise whole of thoughtfully chosen material. I find the album to be quite a perfect example of well-done underground black metal, a fist to those faces who claim that black metal requires something essentially new and refreshing to be good.

4 / 5

GASMASK VIOLENCE / VUOHI: "Hatred United"

On this brief yet fast-paced split CD named Hatred United, that almost literally runs for just 15 minutes, Gasmask Violence and Vuohi meet and provide a few songs of tongue-in-cheek metal & rock attitude.

Gasmask Violence hasn't released anything else before, so this is their first appearance, and I'm not sure do they make a positive impression on yours truly. Their music revolves around simple dirty Motörhead esque rock with punk influences (a lot of d-beats), no more, no less. The songs barely reach the two minute mark and are over sooner than you realize, but then again, I guess it's only a good thing that this kind of music is kept at short bursts instead of a prolonged full-length. The sound and overall attitude are all spot on, but it's then a different thing what I personally think of this kind of music in general. I can not help but think of some young comrades drinking beer in their rehearsal basement and recording a few far-from-profound songs that, at the time of their playing and recording under slight influence, sound so ass kicking. But in truth there's next to zero innovation here, and while there's not necessarily anything wrong with that, I don't see any reason why I'd pick up a Gasmask Violence record when I could just go to a local bar anytime and see some youngsters doing the same thing. ”Heavy Metal Is Dangerous” is kind of the last nail into the coffin right in the beginning when that spoken 'this is Harley Davidson' intro appears.

Vuohi is a more familiar band as it hasn't been a long time when I reviewed their previous demo The Rising Era of Goat, a decent piece of raging black / death / grind mixture. Things start rather promisingly with ”Retaliation” that combines the melancholic tremolo work of black metal with raw and furious grindcore. But after this, Vuohi's material changes to somewhat similar spirit with Gasmask Violence. In practice it doesn't mean any punk or rock, but what it does mean is three cover songs of half-serious originals, like the every teenager's favourite ”Vitutuksen Multihuipennus” by Impaled Nazarene which I happen to loathe. All this, plus my general negative attitude towards cover songs, makes a rather unenjoyable whole, save the first song.

Needless to say at this point, Hatred United wasn't really my thing. Gasmask Violence's take was very basic metallic rocking punk or something along those lines, and Vuohi unfortunately resorts to cover songs except for that one original song which is the split's highlight. Those looking for less-serious metal may find Hatred United more convincing, but I guess I'm just a too boring person for this.

2 / 5

DOOMDOGS: "Unleash the Truth"

Grooving stoner metal meets old school doom metal: this seems to be a common formula on Doomentia Records' roster lately, and Doomdogs' second full-length Unleash the Truth is no exception, unfortunately. Now why the hell is that unfortunate, one could ask, as the quality has remained at a quite high level so far. It's simple: There's been plenty of similar (identical?) material out there already, which is still reasonable, but when the album runs for over seventy minutes, it is way too much.

Whereas I greatly enjoyed Earthride's Something Wicked and Wolfhead's self-titled effort, Unleash the Truth doesn't quite convince me in the same way. Sound-wise, they've got it all here, a dirty low-end guitar sound reminiscent of a bass guitar, it sounds very good. There's a lot of fittingly muddy groove in the instrumentation, especially the drummer does an excellent job here. The vocals, however, are one of the things I'm not much into, but it's definitely a matter of personal opinion. To me, this kind of slightly-tongue-in-cheek clean delivery doesn't really work, unless it's Mastodon doing it.

The vocals aren't the end of everything, so that I'm still able to enjoy the songs, but the ultimate glitch of the album is indeed its length. The songs are relatively long, mostly around five and six minutes, and I find it a bit too long average as the songs are build upon just a few riffs. This is why it's not an easy task to sit through thirteen of this kind of songs in one listening session. Hence my favourite pieces on the album are the most deviant tracks: ”Legacy” is a sweet instrumental made of both acoustic and distortionless electric guitar chords and a flute. ”Magic of the Black Circle” is another strong one, a nocturnal and lurking piece of mesmerizing atmosphere. I also dig ”Mind Slayer” which almost borders on being proggy.

Thanks to the certain highlights, Unleash the Truth deserves a positive rating. Were the songs removed and compensated with another slew of basic stoner doom, I'd probably be bored to death, but luckily that is not the case here. Those reading this review must also remember that I'm not an expert in this genre at all, so true fanatics of the subgenre might find a lot more to enjoy from the album (whilst laughing at my inexperienced comments about it). Unleash the Truth has its moments, but next time around I'd prefer a little more concise and an abridged whole.

3 / 5

THRALL: "Vermin to the Earth"

Tasmanian black metal rings immediately a certain bell, that bell being nobody else than the infamous Striborg, but that part of the world seems to offer something else as well, and of that Thrall takes care of on their second full-length titled Vermin to the Earth, a seven track feast on evil intentions. The deal is pretty simple: Thrall fluctuates between rocking black metal - where power chords meet the drums that partially almost groove - and a bit more modern, dissonant black metal.

The further one explores the sinister tunnels of Vermin to the Earth, the more it becomes evident that the main focus is on the latter: meaning a lot of menacing discord manifested through mid-tempo plucking. The strings ring with ultimate darkness while the drums steadily blast a tad quieter. The vocalist is a poison spewing snake with his high-end rasps that convince. All seems good from the very first seconds into the eponymous first track and its impressive rhythmic pattern. Speaking of which, the band rules when it comes to overall musicianship. Individual songs don't really raise their heads and the band would probably need somewhat more surprising compositions to impress (as this style of black metal is so damn quotidian at the moment), but Vermin to the Earth is, nonetheless, an enjoyable experience that just happens to lack proper standout moments. ”Plague of Man” tends to be my favourite of the bunch with its foreboding, apocalyptic and desperate tremolo leads, but other than that I can't name proper highlights. The production deserves a mention: it is not lo-fi yet not crystal clear. It's just about enough dirty and fits the songs very well.

All in all, I find Vermin to the Earth a good package that is just in a need of more unique elements to make a truly great impression. Fans of underground black metal in general can't go hundred percent wrong with the newest Thrall, but how much the album actually grabs the listener, making him/her want to listen to it again and again? I can't imagine very many but, then again, I could be terribly wrong. In the abundance of all promo material that just keeps coming in daily, it is not easy to differentiate from the mass, so from this perspective my opinion might be biased.

3 / 5

FORTERESSE: "Crépuscule d'Octobre"

Although I can't say I'm fully acquainted with the band's back catalogue yet due to the painful fact that time is limited and there is always so much other stuff to explore in the realms of underground black metal, I do consider Forteresse as one of the most intriguing black metal groups hailing from Canada. Pagan Hellfire might be my favourite churner of the uncompromising Canadian black arts, but Forteresse is perhaps a serious contender for that title as their sound has interestingly ranged from a harsher approach (Métal Noir Québécois) to an entirely atmospheric affair on last year's Par Hauts Bois et Vastes Plaines which was like an utter ambient record, only played with black metal instrumentation.

So into which category should their newest offering, Crépuscule d'Octobre, be pigeonholed? Admittedly, I've only heard bits and pieces of their pre-Par Hauts material, but I'd still definitely say that this upcoming effort is a tad more traditional black metal compared to the minimalist last year's album. Don't get me wrong, Forteresse still revels in a lush atmosphere of echoing, vast sounds, and a song like ”Mon Esprit Rôde Toujours” could almost fit into Par Hauts' soundscape, but the truth is that overall the album incorporates a lot more blast beats and general aggressiveness in relation to its predecessor. And though the sound is hence slightly different, I still find my mind wandering into barren landscapes, forgetting my surroundings and just sinking into the sound, just like with Par Hauts. Mission accomplished, Forteresse's atmosphere here is top notch.

I'm not sure exactly how much longevity these reverby, simple tremolo picked lead melodies have in the long run, but at least at the moment I'm greatly satisfied. Beneath the overbearing, high-end guitar notes is a steady rhythm guitar line that backs up the main melodies, and the album wouldn't be the same without it even if it's so quiet compared to any other instrument. Drums have a very natural sound to them, effeciently creating a natural feeling, especially the breathing snare drums. The vocals are your general black metal rasps which fit in like a glove, and I have nothing to complain about – not about the vocals, not about the whole album, really. Crépuscule d'Octobre might not be mindblowing but still a really successful journey in authentic black metal that should appeal to other fanatics of rather simple yet atmospheric black metal as well. Plus, just take a look at the front cover! It's brilliant, going hand in hand with the previous album's natural theme.

4 / 5