Farsot - IIII (2007)

Farsot's album IIII is an alternatively furious and brooding germanic black metal offering full of maddened riffs, raging, oft-anguished rasps, groovy bass, and evocative, pleading guitar leads.

First, I'll toss out my only "dislike" about the album: the atmospheric transitions that bridge each section are pleasant, yet brief and unimportant. It would be nice to have more fleshed out interludes if the band uses these in the future - "Tod - Trauer" especially deserves more attention. This really isn't a gripe, just a possibility for the next album. The full songs, however, are exquisitely arranged, with masterful pacing and climaxing progression to drag you into their descent. According to the song titles, the album follows themes of hate, fear, death, and grief. "Thematik Hass" is, of course, the most violent of the songs, delivering an unflinching attack on life. This early furor slowly gives way as the album progresses and it discovers frailty and loss. IIII ends on a beautiful note with "Thematik Trauer," the remorseful, epic culmination of Farsot's emotional journey through existence.

Get this.

9/10

Om - Pilgrimage (2007)

Just as a fair warning, I'm a massive, frothing Sleep fanboy. If you asked me to pick one album to wander the deserts with for all of eternity, it would be Sleep's Holy Mountain. As you might know, Om is the band that the rhythm section of Sleep went on to form after the band's breakup, and as tragic as Sleep becoming defunct may have been for me, it seems that an arguably better band has risen from Sleep's ashes.

I'm speaking as if this is a debut for Om, but it's not, as they have two previous full-lengths, Variations on a Theme and Conference of the Birds, which are respectively very well done. Pilgrimage takes their musical style another step forward, Al Cisneros's rumbling bumbling sludgy bass and Chris Hakius's determined, tribal beats on the drums. I can't describe the music in any other word than "groovy." The songs are pure motherfucking catchy-yet-thoughtful explorations, with a deeply philosophical and almost religious feel. The vocals do everything to support this, with Cisneros's chanting ranging from relaxing whispers to being firm and louder, similar to previous efforts.

However, the album isn't all sludge, the first track is a ten minute almost ambient, wonderful intro for the album, which from that point brings on the heavy stuff that will satisfy Sleep fans. It does return to this chill style later on in the album, leading you to feel as if you're in the eye of a storm. Largely the album feels like a followup to At Giza, and lyrically it reflects this from what I can tell so far.

In the end, this album is fantastic, and the only major detractors are its relatively short length (a little over 30 minutes) which might not really be a negative, as it's better to have this than a version with filler. I think everyone who considers themselves a stoner metal fan should hear this, and I'm tempted to give it a perfect score but, albeit a very focused and well-executed effort, I feel like Om still can take it to another level in the future.

9/10

Imperium Dekadenz - Daemmerung der Szenarien (2007)

Riding upon the momentum of last year's debut ...Und Die Welt Ward Kalt Und Leer, the German duo has returned with another work of misanthropic majesty. I hesitate to truly compare their sound to Austrian gods Summoning, since they lack the synthesized percussion, Tolkien lyrics and overall bombast of that outfit, but clearly Imperium Dekadenz is shouting at you from the same place...the distant castle walls and frosted, forested mountainous regions of legend.

Each of the anthems presents a wall of guitars backed by tasteful synths, over which the vocals of Horaz soar with a forgotten grace. The jangling ambient guitars and whispers of "Into Breathless Sleep" immediately part to herald the glories of "Der Dolche Im Gewande", and much of the album alternates between these mid-paced charges over the landscapes of eld, and softer acoustic counterparts. In short, the entire affair seems like a tribute to a lost German kingdom. Perhaps my favorite tune is "Nebelbrandung", unforgettable with its soaring, grim landscape and subtle touches of guitar melody and male choral vocals.

I translated the album title as "The Twilight Scenario" but I fail when it comes to the tongue of my distant Germanic forefathers so take that as you will. This is a solid album throughout, it will certainly appeal to fans of epic black metal, especially those of you who favor a good raw atmosphere over the highly produced battle metal coming out of Europe these days. Highest recommendations to fans of Summoning, Angantyr and Blood Fire Death-era Bathory.

I'd also recommend their debut, a killer they have not quite surpassed with this, but certainly equalled.

9/10

Aeon - Rise to Dominate (2007)

I've been waiting for this one for a while. Aeon's debut full-length, Bleeding the False, is one of my favourite death metal albums. It showcases a mildly technical, brutal, catchy, and unremittingly blasphemous attack on all that is holy. This hasn't really changed on the new album. The first thing I noticed when I fired it up is that, while the first album was a head-on onslaught, the pace has been upped even further. Rise to Dominate rarely ever lets up, lending it an extremely brutal aura, yet also making some sections blend together as breakneck metal is wont to do. The guitars are again completely ripping, and quite similar to the style on Bleeding the False. Some of the songs seems derivative, such as the first, which sounds just like something by Hate Eternal, or the second, which I know I've heard before but can't place. However, even if the songs are familiar, they're still wrapped up in a tasty Aeon shell and ready to please. The drumming is just as ferocious as always, thanks to Nils Fjellstrom of Dark Funeral legacy. The singing, another highlight of the first album (which showed off extremely vicious growling combined with crystal-clear enunciation), was my majour concern for Rise to Dominate, thanks to the myspace teaser. It is true, the vox have taken a minor turn for the generic, most likely due to the increased pace of the music, but they're never unpleasant, and quite often just as brutal.

One thing I wanted to specifically talk about is the lyrical content and presentation of Aeon, seeing as that was one of the most notable aspects of their first album. While they are just as single-mindedly anti-Christian as before, they don't seem to pack that same simplistic shock factor. Perhaps I'm missing more lyrics due to the lowered clarity of the singing, but they seem to be much less extreme and more serious. There are no songs analogous to "God Gives Head in Heaven" on Rise to Dominate - "Caressed by the Holy Man" starts out with a sinister sample of a little girl and keeps that tone, rather than taking a humourous bent as you'd expect it to. I'm guessing Aeon want to be taken more seriously, and are cutting back on the tongue-in-cheek lyrics. While I do miss laughing aloud at their music, I can't fault them at all for taking this approach.

With a meatier production, courtesy of Dan Swano, and a reinforced focus on their style, Rise to Dominate presents a strong advancement by these brutal Swedes. I do not feel that this album is nearly as memorable as their first, but that does not stop it from being as heavy as Helel Ben Shachar's hatred for everything sacred.

Aeon believe in Satan, and Satan believes in them
9/10

Nauthisuruz - Sanity Funeral (2007)

Ok. So the logo is pretty naff. And the psychedelic-blood-vomit-swirl Stonehenge album cover is a bit dated. It's also self-produced "symphonic black/doom/avant garde metal with elements of neo-classics and electronics" from Russia. But don't let any of that put you off. Nauthisuruz may very well be Russia's answer to Summoning.

To call this album "epic" or "synth-laden" would be an understatement akin to suggesting that Paul Gilbert plays "a bit" of guitar. Though essentially guitar driven atmospheric black metal, half the album is comprised of ambient noodlings between each of the "proper" tracks. The blend between them is fairly seamless for the most part and the synth allows a majestic flow between each composition (see 'Purification of Energy' and 'Occult Reality'). The album as whole therefore is a complete piece that's much more than the some of its parts. It's a musical journey that ebbs and flows between soothing synth and distortion driven aggression. Close your eyes and you may find yourself fleeing the Nothing aback Falkor, before plumetting toward an abyss and into a climactic battle against Gmork.

The distant, ethereal vocals are textbook Summoning, but a broader range is showcased on the more aggressive numbers such as 'Chaos Is Eternal' or 'Deep Rage'. The wispy distant production is carried through to the guitars but without losing a meaty punch during the faster sections. An occasionally soaring lead punctures the mix, wistfully carried by the complementary strings. The synth work itself is blended naturally and at no point becomes overbearing, nor are the programmed drums an annoyance. It's a little rough around the edges in places admittedly but the album is carried with a feeling of majesty.

If only more bands listened to Summoning instead of trying to re-arrange tired At The Gates riffs. This isn't so much worship as homage with enough distinctions to stand out on its own. It's not quite perfect, there's a few clumsy sections and some of the ambient tracks don't add a whole lot to the proceedings. Either way, Nauthisuruz are very much deserving of one those "awesome favourite new band that no-one will ever hear about" titles. Given that all three of their albums are available, for free, from their website there really isn't any excuse. Sombre, beautiful, aggressive and majestic all at once.

9/10

http://www.nauthisuruz.victory-np.ru/

Sickening Horror - When Landscapes Bled Backwards (2007)

Death metal is a somewhat tough genre to crack these days. At some point it appears to have turned into a big competition. Bands competing to be the most brutal, desperately creating 30 minute albums of inaudible riffing in A standard and ridiculous phased vocals. At the same time other bands are turning out mindbendingly technical death metal with such incomprehensible riffs and solos that they're nigh on impossible to recreate more than once without serious tendon damage. And then there's those that combine the two. Along the way sadly, they all appear to have lost the ability to write actual songs with atmosphere. Its enough to make you want to stab fanboys in the face with a copy of Scream Bloody Gore. Sickening Horror are another entry in this technical brutality competition. They're particularly fanboy faptastic given the involvement of human drum machine George Kollias.

With these sorts of albums its difficult not to view them as a random collection of riffs and bass licks assembled to a backing track of blast beats. When Landscapes Bled Backwards suffers slightly in this department given that there is generally little coherency and flow through the album due to the stop-start staccato riffing and relentless blasting. However, this is clearly a musicians album, and as expected the drumming is the dogs bollocks. We're treated to whirlwind display of breathtaking riffs and as is the staple for tech-death the bass tends to remain muddied in the mix but is given room to breath on occasion. Vocals on the whole are pretty dull, nothing more than a staple death growl.

Much like Behold... the Arctopus this is either a waste of time or a wondrous wankfest. Even if you love this I challenge you to remember a single riff by the end of it. Bands like Nile, Anata and even Necrophagist can blend technicality, brutality and still craft some memorable songs. Sickening Horror can't.

3/10 (if you value song writing)

9/10 (if you masterbate nightly to a picture of Karl Sanders and use a Necrophagist shirt as a wank rag)

Silva Nigra - Epocha (2007)

Another album number four, nearly 50 minutes of snare-snare-snare- snare-snare-snare "Total Antichrist Propaganda" from Czech raw black metal bandits Silva Nigra. Featuring the drummer from Trist (not that one, the other one) it's a gloriously sombre yet curiously riff laden journey through the dark and icy wastes.

Soothing industrial ambiance carries you gently into a slow groove before an icy blast tears you from safety, by which time it's too late. A chilling album of blasting black metal, never far removed from a subtle melancholy that pierces the frozen dirge. The anguish of Ulvberth's throaty, blackened rasp is never far behind, tearing at your soul as you desperately try to escape the suffocating depression. As comfortable with the typical d-beat snare blast assault as pouring sombre leads over a bleak soundscape, Silva Nigra have perfected their art. Pausing only for a brief interlude, Epocha is a complete black metal album, covering many areas and compromising none. It might not have the mindfucking depth of your Blut Aus Nord's or Deathspell Omega's, but equal parts old school krieg riffage and Celestia/Mortifera misery it remains impressive. All hail the Dark Lord. Satan is pleased.

9/10

Múm - Go Go Smear the Poison Ivy (2007)

Ah, more beautiful music from Sigur Ros' dreamy peers. Múm bring us another album full of that magical essence that seems to pervade this Icelandic scene: blissed-out, glitchy experimentation wrapped up in crystal clear, ice-refracted tones glaciating beneath singing so pure and innocent it makes children seem evil.

As opposed to the crunchy, pseudo-moody sound of their previous album, Summer Make Good, Múm adopt a more poppy, hopeful sound on Go Go Smear the Poison Ivy. Main singer Kria's impossibly-soft mewling sometimes ventures into more typical realms, and is now accompanied by a bloke whose chill singing invokes thoughts of The Album Leaf. The electronic glitches likewise break their spastic form more often to assume traditional beats, serving to make the music more drum-driven and streamline the sound. A tad bit more radio-friendly, but no less interesting. As far as the overall style, Go Go Smear the Poison Ivy has a jazzy feel that involves piano, trumpet, and whatever else these chaps could get their hands on.

This is apparently the last album with Kria in it, so it will be interesting to see how it goes from here. Nonetheless, if you love Sigur Ros, World's End Girlfriend, or Piana, you are sure to be pleased by this album.

Go go smear my poison ivy, and let your crooked hands be holy...

9/10

Depressed Mode - Ghosts of Devotion (2007)

The Finns are at it again. By it, I, of course, mean crushing DOOO000oooOOOOOm. Depressed Mode certainly ascribe to the beautiful style of their countrymen. But whereas Shape of Despair focus their synths on ambience, Depressed Mode adopt a symphonic/classical edge to their music with piano and string-work, a la Remembrance. However, I'd have to say this is a much more polished and epic release than Frail Visions. Taking some cues from melodoom, Depressed Mode keep a slightly faster pace than typical funeral doom bands, serving to keep the music compelling. Vocals are very reminiscent of Evoken's dry, world-weary roars, which is not a bad thing. Not a bad thing at all.

The album proceeds much as you'd expect, with crushing waves and idyllic interludes. The track "Fallen Angel" does throw in some poppy electronic drums in the beginning, and there is a passable cover of Burzum's classic "Dunkelheit," although they oddly decided to change the keys to a far less interesting sound (amusingly, this funeral doom cover is shorter than the original). The classical elements blend smoothly, never becoming cheesy or pretentious, and are a welcome addition to the funeral formula. It is of note that Natalie Koskinen, of Shape of Despair fame, lends her lovely voice to this funereal debut.

Doom heils to the Finns once again - Firedoom adds another winner with Depressed Mode.
9/10

Leaf Hound - Growers of Mushroom (1971)

YES! Now we're talking. Growers of Mushroom is true stoner rock from 1971, Leaf Hound hails from London England and brings the smoke-filled riffs in plenty. The moment I stuck this album in the player, I was reminded of old Vietnam movies; tanks rolling along a dirt road, dust kicking up behind them, and some catchy, groovy rock blaring as the tanks drove on. Awesome. The first song "Freelance Fiend" is probably the best on the record in my opinion, with Led Zeppelin type vocals.

Actually, in general the band is quite a lot like Led Zeppelin if they had taken their psychadelic tendencies one step farther. Another band they remind me of is the much newer Wolfmother, except obviously Leaf Hound was doing this almost 40 years earlier, and is much better at their craft. If you like catchy rock with a psychedelic edge and awesome song titles like "Sad Road to the Sea," get this immediately. Comes highly recommended from me.

9/10