This day in age, it’s almost pointless to continue referring to Nachtmystium as a Black Metal band. The former troo kvlt USBM stalwarts have shed so much or their corpse-painted stigma, one almost forgets that less that six years ago Blake Judd was ball deep “bringing some of the world’s most extreme music to the world’s most extreme audiences.” with Battle Kommand Records. But throughout the numerous stylistic and lineup changes, there’s one BM trait Nachtmystium still hold near and dear to their hearts… pissing off the majority of people who loved their previous record.

Lucky for them, I’m not one of those people. Over the course of the last four years, Nachtmystium has declared “fuck you” to what was expected of them and delivered compelling album after compelling album. 2006’s Instinct: Decay scratched the surface (and no doubt left fans scratching their heads) by introducing a variety of psychedelic elements and soundscapes to the standard black metal fare. Then, in 2008, Assassins comes along with it’s blatant Pink Floyd worship, and begged the question… who exactly are these guys trying to impress? Three songs into Addicts, and that answer is clear… themselves.

It takes some seriously big balls (or seriously good drugs) for a band who’s name means “Encompassing Darkness” to write, record and release a song like Nightfall. I’m having a tough time even describing it… but the terms 80s/dance/pop all come to mind. The next track, No Funeral, follows suit with its jarring (yet shockingly appropriate) synth line and 80s snare sound. The title track continues the overall theme by showcasing the band’s best Killing Joke impression. And while we get back to “metal” territory with the next couple tracks (Blood Trance Fusion being my favorite Nactmystium song thus far), things once again return to the club scene with Ruined Life Continuum. It boggles my mind that Wrest, the same guy who brought us “Massive Conspiracy Against All Life” can now be found playing avant-garde dance beats. What a strange world we live in.

In full, Addicts is not nearly as thorough or cohesive as Assassins, but after repeated listens… it all begins to somehow make sense. Whether that was the intention or just mere coincidence remains to be seen. What I can safely say, is I expect to see Addicts appearing on plenty “best of” and “worst of” 2010 lists.

While most anyone not affiliated with “hipster metal” will continue to cry “bullshit sellouts,” the fact remains that Nachtmystium are successfully doing what few bands dare attempt… reinventing themselves.

And to some degree… the metal landscape at the same time.

Justin’s Rating:

King says: “This album keeps getting better every time I hear it. Too bad I can’t say the same for my falsetto!”

Mark’s Review:

I’ve written this review a few times now and I’m through rationalizing. I wanted to write a review on how confused I was and how hard it is to describe the new album by Nachmystium, Addicts: Black Meddle Part II. I was wondering if I truly liked it, just WANTED to like it, or hated it. Well, after many re-writes and re-listens, I really think I just don’t like this album and no amount of deep introspection into Blake Judd’s vision or acceptance of Gothic trance music will change that. Nachtmystium is definitely forging into new directions and deciding that the band will boldly go wherever they please musically. While this is a commendable stance, it always runs the risk of alienating a fanbase for the sake of personal gratification. I guess I don’t feel alienated, I’ve just become disinterested… which is maybe worse.

I don’t want to be so close-minded, but I there’s just not enough on Addicts to suck me in. The songs really aren’t terrible (in fact, High on Hate, Nightfall and Then Fires are pretty good), but the lack of attention paid to the details slowly becomes annoying. From the lazy vocal-phrasing and lyrics to the dull, repetitive passages that plague almost every song, everything has a disjointed and “half-assed” feel. So basically I’m left with two interpretations:

    1) either this is a very high-concept work of art that I cannot fully grasp, or
    2) it’s an incomplete and unfinished batch of songs given high importance by pretentious music blogs and hype

Either way, I don’t feel like I will be frequently listening to this album in the future. It’s not really a testament to the quality of the music, just a personal disconnect with the style and presentation. Now if you’ll please excuse me, I’m going to get back to blasting Hell Bent for Leather…

Mark’s Rating:

King says: “Blake… how come you never wear the makeup anymore??”

Have A Listen:

Nachtmystium – No Funeral:

Download audio file (No_Funeral.mp3)

I had high hopes after seeing the preview for Until the Light Takes Us.  Unfortunately, the movie seemed to be a bit too awkward and disjointed to really resonate, and I felt there was more to be told with the story.  The film loosely follows the divergent paths of Varg “Count Grishnackh” Vikernes and Gylve “Fenriz” Nagell, two Black Metal pioneers with different agendas for the genre.  It takes a while, but near the end, we understand that the goal of Black Metal in Norway was always meant to be more of a sociological movement than a “scene”.  It was never meant to attack people, but rather attack and challenge authority and societal norms, but this message and it’s delivery in the movie is very soft.  Along the way we see lots of beautiful shots of Scandinavia, but learn little about the music and it’s growth.

The thing is, most people seeing this movie will be fans of Black Metal, so they will have the basic historical knowledge of the events that led to its infamy in the early 90’s.  So seeing this movie really adds nothing for them.  There is too much focus on these events and not enough connecting them to the music, or explaining the atmosphere that all of this was made possible.  I feel that there was a lot that was left unsaid, and the sudden jump from “creating a new underground movement” to “burning churches and murdering homosexuals” left me saying, “OK, I know that, but why?”  Anyone watching this movie without this background knowledge will be confused and will probably fall back to blaming the usual heavy-metal stereotypes.  There’s no narrative to the movie, and this becomes a problem when we are subjected to some rambling manifestos of people using English as a second language.  It’s not their fault, but in trying to get their point across to the viewer, they stumble for the right terms quite a bit.  In the end, I wanted to know more about Vikernes, a fascinating character that I’m not sure is a genius or insane.

Overall Until the Light Takes Us was a disappointment.  Directors/Producers Aaron Aites and Audrey Ewell stylistically attempt to paint Fenriz and Vikernes as romantic leaders of a misunderstood revolution, but they come off more as metal caricatures from an episode of Metalocalypse (especially Frost from Satyricon, who looks like a fool wearing makeup and walking around in the dark).  Anyone who’s looking to learn more about Black Metal’s rise and fall is probably better off reading Lords of Chaos or even see the bonus material for Sam Dunn’s Metal: A Headbanger’s Journey.

Mark’s Rating:

King says: “Ummm… nice makeup?”

Justin’s Review:

If Black Metal is a rebellion against Death Metal, then Until the Light Takes Us could easily be considered the Black Metal equivalent to the modern metal documentary. Lo-Fi, often aimless, yet at times… strangely compelling. Unfortunately, much like the genre it’s trying to uncover, Until the Light Takes Us gets lost in its own gratuitousness.

Now I certainly wasn’t expecting to walk into another rehashing of Black Metal’s most famous cultural documentation, but based solely off the trailer and an interesting article (care of the Onion’s A/V Club), I was excited to see what directors Aaron Aites and Audrey Ewell had came up with. From the looks of things… candid interviews with two of BM’s progenitors, a smattering of historical footage, and in the director’s own words:

Not specifically the evolution of black metal, but the re-creation and re-contextualization of media and art and everything in modern culture. We’re really interested in a lot of postmodern theory and ideas, and we see a lot of parallels with black metal and the story of black metal.”

As promising as that sounds, UtLTU ultimately ends up combining fascinating interviews (Varg and Fenriz), with sophomoric commentary (Abbath and Hellhammer), idiotic “happenings” (Frost and supposed “visual artist” Bjarne Melgaard), and a solid 45 minutes of shaky footage of Fenriz walking around and chain smoking. While there certainly is a story to tell, it gets lost somewhere in the shuffle. Or should I say somewheres? Where the film excels in unraveling the mysteries behind Varg and Fenriz (and their diverse perspectives on the the scene itself), it severely lacks in a focused approach. The presentation of random footage and insufficient narrative will easily confuse anyone who isn’t partial to BM’s sordid history; and those who are, will find themselves waiting for the “meat and potatoes” of the film to be served. It’s evident enough that the film tries to make the sad connection between a reactionary genre that was distorted by the media (and its own minions), and the full-blown parody that it’s become today; but it never really drives the point home for either side. While some might argue that’s the whole purpose of a documentary, I tend to prefer documentaries that have purpose to begin with. UtLTU left me unsatisfied, but not clamoring for more.

Though I applaud Aites and Ewell’s commitment to the genre and their film (they did, in fact, move to Norway for several years to shoot this footage), I can’t help but feel that by taking the “artistic” approach with metal’s most infamous scene, they fall into the exact same parody they were attempting to document.

Justin’s Rating:

King says: “Is there anything more annoying than a heavy metal music critic who demands inspired, creative and intelligent cinema? Yes… and his name is Frost.”

“Until the Light Takes Us” Official Trailer:

Anyways… we made a valiant attempt to get Chris to give us his top 10 picks, but he kept saying something about the Saw 6 soundtrack, so we bumped him down to five. Enjoy, and Happy Holidays!

Mark’s List:

There were so many huge releases in 2009, it was hard to pick a top 10.  The year saw new music from metal’s heaviest hitters (Slayer, Cannibal Corpse, Megadeth, Mastodon, Anthrax) as well as comebacks from Alice in Chains and Immortal.  But ultimately, I believe 2009 will be remembered as when the new generation firmly took hold of the metal scene, as demonstrated by the outstanding releases from Skeletonwitch, Scale the Summit and Baroness.

10. Megadeth – Endgame (Roadrunner)
It’s no Rust in Peace Part-2, but with Endgame, Mustaine continues to prove that he can still crank out some great headbangers.
Check Out: This Day We Fight!

9. Slayer – World Painted Blood (American/Sony)
The second album since the return of Lombardo offers a new sound, but the same intensity.  One of the best album jackets/concepts of the year.
Check Out: Snuff

8. Devin Townsend Project – Addicted (Hevy Devy)
In a banner year for Devin, it’s the pop-metal soundtrack to a Anime-dream sequence (most likely depicting flight through a post-apocalyptic Japan).
Check Out: Hyperdrive!

7. Cannibal Corpse – Evisceration Plauge (Metal Blade)
Never ones to disappoint, Alex Webster and Corpsegrinder deliver the year’s most brutal offering.
Check Out: Carnivorous Swarm

6. Alice in Chains – Black Gives Way to Blue (Virgin/EMI)
Seattle’s finest create a comeback record worthy of the memory of Layne.
Check Out: Private Hell

5. Behemoth – Evangelion (Metal Blade/Nuclear Blast)
Negral conjures a maelstrom of demonic chaos that could easily convert anyone into a heretic.
Check Out: Ov Fire and the Void

4. Immortal – All Shall Fall (Nuclear Blast)
The Blizzard Beasts return with an incredible album that captures their focused and raw power.
Check Out: Arctic Swarm

3. Scale the Summit – Carving Desert Canyons (Prosthetic)
An instrumental masterpiece so rich in textures, tones and mood that it gets better with each listen.
Check Out: Dunes

2. Skeletonwitch – Breathing the Fire (Prosthetic)
A dominating statement from the Ohio thrash-masters.  An album that defines the term “thrash metal”.
Check Out: Submit to the Suffering

1. Baroness – Blue Record (Relapse)
Heavily layered with advanced concepts and dynamic playing.  Baroness once again delivers the album of the year.
Check Out: Jake Leg

Chris’ List:

Is a Top 5 acceptable?

5. Converge – Axe To Fall (Epitaph/Deathwish)
A somewhat fresh album from a familiar band that refuses to turn bad.
Check Out: Dark Horse

4. Cave In – Planets of Old (Hydrahead)
A four-song reunion works fine for me. Especially when the four songs kick tall ass.
Check Out: Retina Sees Rewind

3. Mastodon – Crack the Skye (Warner Bros.)
Bringing progress to Progressive Metal.
Check Out: Divinations

2. Baroness – Blue Record (Relapse)
The soundtrack that plays as my brothers and I descend to battle from snowy foothills astride armored polar bears, the perpetual winter sun smoldering unaware on a frozen, indifferent horizon.
Check Out: The Sweetest Curse

1. Propagandhi – Supporting Caste (Smallman)
Fast, angry, complicated. Even more so than before. The band affirms their category-defying musical identity, perhaps at the peak of their powers.
Check Out: Supporting Caste

Justin’s List:

Wow. What a fantastic year for metal. Narrowing this list down was quite a challenge… especially when I knew my top spot was reserved for a non-metal album. GASP! Yes folks… it’s true… my choice for album of the year goes to an indie rock band. But don’t worry… I’m not planning on wearing tight pants or reading Pitchfork anytime soon. In fact, I think I’ll carve “SLAYER” into my arm right now just to prove my self-worth. Eh… nevermind. That shit hurts.

10. Coalesce – Ox (Relapse)
15 years in, Coalesce continue to be one of the freshest sounding bands in the hardcore and metal community.
Check Out: Wild Ox Moan

9. Slayer – World Painted Blood (American/Sony)
Fast and raw… just how you probably like it. I know I do.
Check Out: Psychopathy Red

8. Converge – Axe To Fall (Epitaph/Deathwish)
As dynamic as it is heavy, Converge’s latest offering kicks you in the teeth before tucking you into bed. Awesome.
Check Out: Axe to Fall

7. Scale the Summit – Carving Desert Canyons (Prosthetic)
Remember the kind of music you and your friends were churning out in your early 20s? Yeah… it sucked compared to this.
Check Out: Sargasso Sea

6. Goes Cube – Another Day Has Passed (The End Records)
The Campbell’s Chunky Soup of the metal world… hearty and damn tasty!
Check Out: The Only Daughter

5. Baroness – Blue Record (Relapse)
Blue Record is one of those rare “all-emcompassing” albums. Great artwork, great music, great everything.
Check Out: The Sweetest Curse

4. Mastodon – Crack the Skye (Warner Bros.)
Like your beard, Crake the Skye really grows on you. And it totally rules.
Check Out: Oblivion

3. Revocation – Existence is Futile (Relapse)
These guys made me fall in love with shred all over again. When are we going to see the Existence is Futile tab book? (or vinyl for that matter… nudge nudge wink wink Relapse).
Check Out: Dismantle the Dictator

2. Skeletonwitch – Breathing the Fire (Prosthetic)
I Can Has Metal?
Check Out: Repulsive Salvation

1. The Life and Times – Tragic Boogie (Arena Rock/Hawthorn Street)
A non-metal album was my top choice of the year? Damn straight. Call me what you will, but me and my cred stand behind this decision. This band and album are absolutely amazing.
Check Out: Tragic Boogie

Honorable Mention:

Cave In – Planets of Old (Hydrahead)
Alice in Chains – Black Gives Way to Blue (Virgin/EMI)
Burnt By the Sun – Heart of Darkness (Relapse)
Buried Inside – Spoils of Failure (Relapse)
Propagandhi – Supporting Caste (Smallman)
Immortal – All Shall Fall (Nuclear Blast)
Cannibal Corpse – Evisceration Plauge (Metal Blade)

Can you feel the chill in the air? No… it’s not Jack Frost nipping at your nose (not yet at least). That tingling sensation you’re feeling is the icy-cold sting of Abbath, Horgh and Demonaz returning from their long hibernation and delivering Immortal’s latest frostbitten soundtrack to the apocalypse, All Shall Fall. It’s been nearly 18 years since the band broke the ice with their debut full length Diabolical Fullmoon Mysticism (featuring everyone’s favorite black metal video and animated .gif “The Call of the Wintermoon“), and while Abbath and Co. can still be found running through the Norwegian forests brandishing an axe, Immotral’s music has certainly matured over time.

As you probably know, the “black metal” genre covers a lot of ground, and has been known to spark plenty of controversy both in terms of the general public’s perception of it and the majority of die-hard fans’ insolent attitudes towards some of BM’s heavy-hitters. Immortal, being one of the pioneering bands (of the second wave), have dealt with their share of criticism over the years, but throughout it all, have remained at forefront of the scene. In 2002, they released what many (myself included) regard as the band’s milestone… Sons of Northern Darkness. By tr00 kvlt standards, SoND could be considered the band’s “sellout” album, as it featured vastly improved sound quality, and GASP! some actual “hits” (so to speak).

Well… I hate to brake it to the elitists out there, but All Shall Fall doesn’t stray too far from these standards. The unfortunate thing however, is that when held side by side with it’s predecessor, All Shall Fall doesn’t quite live up either. While the songs themselves are undeniably Immortal, they don’t have the lasting power of tracks like “Tyrants” or “One By One” (though I will admit, I’m enjoying them more with each subsequent listen). Arctic Swarm comes the closest, by featuring that classic Immortal groove underneath the album’s most outstandingly bleak lyrics.

Release the arctic swarm to drag us down
Spread its shivering wings, caught us by its cold
With haunting frosty eyes, it journeys fast
The cold will bring the fall

Album closer Unearthly Kingdom is also a welcome surprise with it’s transition from brooding to badass and back again. Peter Tägtgren has returned to his role as producer, and on that level, the album absolutely rules. All Shall Fall perfectly captures the Immortal grimness without ever coming across as shrill. In this day of rampant over-production, it’s always nice to hear (solid) recordings that actually fit the music. Hails to cover artist Pär Olofsson on his contribution as well… it’s nice to have something besides a photo of the band to look at for once.

Overall, All Shall Fall is a (frozen) solid effort, but knowing what the Immortal are capable of, it’s probably just the tip of the iceberg. Let’s hope the next one puts an end to Global Warming.

Justin’s Rating:

King says: “Good to have you back guys… let’s get together soon and trade makeup tips. You bring the axe, I’ll bring the wine.”

Mark’s Review:

The year was 2002, and by most standards, life was good. The Rock thrilled us all in The Scorpion King, Life with Bonnie taught America to laugh again, and Immortal released what I consider one of the greatest metal albums of all time, Sons of Northern Darkness. After I saw Immortal live, I became obsessed with what these guys would do next. For me, they defined what black metal should be: riff after god-crushing riff wrapped up in a ice-cold aura of corpse paint and wrist spikes. Unfortunately, they chose to break up shortly after touring for the album, leaving many fans such as myself high and dry. Then, as if my prayers to the Norse Gods of Snow and Ice had been answered, it was announced that Immortal would be returning to the stage at the 2007 Wacken Open Air, schedule some US dates as well and enter the studio to record new material. Although my first impression of the new album was that there was some frost that needed to thaw, I soon realized that All Shall Fall is definitely a triumphant return for the Blizzard Beasts.

With expectations running extremely high, I was a bit disappointed by what I first heard on All Shall Fall. I guess it’s unfair to compare the album to Northern Darkness, but it’s impossible not to. The title track and The Rise of Darkness are solid, but they seem to lack the bite and madness of One by One or Demonium. When track 3 began, I was wondering if maybe I had set my sights too high. I was expecting these guys to churn out another metal classic and I was starting to feel a little let down. Luckily, here is where the mood starts to shift and you can hear the band really begin to knock off the rust. Hordes of War brings the insane fury and trademark gallop while Norden on Fire features a mid-tempo march of doom and that atmospheric, echoing Immortal breakdown. Abbath definitely saves his best for last, as the album ends with two monsters: Arctic Swarm and the epic Unearthly Kingdom. Clocking in at over eight minutes, Kingdom is a classic, featuring all the wild tempo shifts, blazing-fast riffage and images of frigid warriors battling you can take.

When the album was over, I immediately began listening again because I could tell that my initial disappointment was based on unreal expectations. I’m glad I did, because it keeps getting better and better. It still might not be as good as their previous effort, but that doesn’t mean the songs don’t still rule. With increased exposure and production values, a different tone is to be expected, but in a live setting, these songs will still destroy just as much as anything off of At the Heart of Winter. Looks like Immortal is back, because All Shall Fall grows on you into one of the best metal offerings of the year.

Mark’s Rating:

King says: “Is it cold in here? or is it just you? ”

Once again, Nuclear Blast have outdone themselves with a wide variety of packaging options.

Have A Listen:

Immortal – All Shall Fall:

Download audio file (All_Shall_Fall.mp3)

Mark’s Review:

When Black Metal first hit the scene, I laughed and figured it was some sort ov joke. After reading Lords ov Chaos and hearing the stories ov guys burning churches and members ov Mayhem eating pieces ov brain after finding their singer lying in a dead heap after a self-inflicted shotgun wound made me laugh. Are these guys serious? Is there really NOTHING to do in Norway? Wow, they must really LOVE Satan! Then, there were the endless amount ov ridiculous Black Metal photos showing fake wooden swords, smeared corpse paint and fake blood. I figured it was all just a lame attempt to scare parents and the establishment. Then I went to see Manowar at Riley’s Rock House (RIP), and Immortal opened. After laughing at the thought ov the three ov them ordering Blizzards at the nearby Dairy Queen, they soon took the stage, and I was absolutely blown away. I remember in the bathroom afterward, there was a guy at the urinal next to me just muttering to himself, “Immortal… Immortal…“, definitely the sign ov a good performance.

Since then, I’ve dabbled in mostly “commercial” Black Metal: Dimmu, Emperor, Gorgoroth and Behemoth. Behemoth’s music appealed to me immediately; their songs were great, and I really liked the unending sonic onslaught they created. And since I enjoyed, Demigod and The Apostasy, I was looking forward to hearing their new album. Evangelion is heavy and fast as hell, and it’s probably their most complete album yet.

Daimonos is the ultimate album starter. Taking its cues from Hell Awaits, screams from hell swirl around to a boil before Nergal and company begin to destroy you. When the chorus chants begin, you’ll find yourself looking around the room for something to sacrifice. The drumming and guitars are so fast and tight, it’s like a buzz-saw that only wants to tear your flesh from your bones. Inferno’s drumming is just ridiculous, with or without the help of triggers. And unlike most black metal releases, the production is fantastic. Daniel Bergstrand and Colin Richardson managed to create heavy and organic tones from guitars and drums which are obviously very processed. Songs such as Lucifer and Alas, the Lord is Upon Me, show that they can still bring the evil when the speed is slower, but Behemoth really shines when they ramp up the BPM. No where is this more apparent then on the song Ov Fire and the Void, quite possibly one ov the best metal songs I’ve heard this year. It’s simply awesome.

Because I’m saving my “5 Kings” for the new Baroness, I cant quite give the album a perfect review. But I have to say, if you’re into what makes metal great, get Evangelion. It has all the speed, power and heaviness you’d expect mixed with great songs and a satanic vibe that is sure to scare parents and give you goosebumps.

Mark’s Rating:

King says: “If I’m ever in Poland and run out of chicken femurs, I’ll give these guys a call!”

Ed’s Review:

Poland has delivered a few amazing metal bands over the years without a doubt. After my soon-to-be wife turned me on to Decapitated (the infamous child prodigies of the Polish death metal underground) a few years back, I decided that I would give just about any band from this often ridiculed European region a chance. Enter BEHEMOTH who have apparently been placed in the “blackened death metal” category for quite some time now (huh?) much to my surprise. Perhaps I’ll get slapped by half of the message-board community (and probably be labeled a douche for saying this), but I didn’t even know this particular sub-genre existed. But I suppose I can understand it now – in Behemoth’s case, we are talking about a diabolically rich hybrid of black metal imagery and tone combined with the fierce and technical prowess of extremely brutal death metal, which is enough to make any weakling (or even reasonably upstanding citizen) squirm in his underwear indefinitely.

But seriously, no matter what sub-genre people are willing to toss around here, Behemoth have proven that they definitely have what it takes to match the metal with the face paint on their 9th studio album Evangelion. This is a very brutal slab of extreme metal that will probably have you reaching for the nearest pint of Żywiec the very minute it begins to thrash your head into a pulpy goiter.

Opening this ferocious riff-fest of an album are two blasting tracks of occult-laced mayhem sure to please anyone who can appreciate getting their face melted by this brand of metal. Particularly opener Daimonos slays with a magnificent velocity, then catches the ear with a breakdown solo eerily similar to the one in “Zero Tolerance” from Death’s Symbolic album (which I must say I almost busted a nut to). Shemhamforash is an all-out blast beat for the most part, ending with what sounds like a sitar (showing a possible Nile influence or maybe just an excuse to be weird and trippy – either way it works). Ov Fire and the Void, easily the album’s best track, is a grinding mid-tempo masterpiece with some classic textural guitar work overlapped with the speedy underbelly of Inferno’s kick-drumming, which brings to mind Decapitated at their best. And speaking of Inferno, this guy is a sick drummer. He’s so sick, he might need some extra face paint just to cover up how fucking talented he is, and in my opinion he may be the key to the quality of this record. My favorite guitar riff stands at the intro of Transmigrating Beyond Realms ov Amenti which is a loopy spiral of dischordant madness, down tuned and circling around Inferno’s impressive percussion. The album continues along this path consistently, with the top-notch production never taking away from the overall intensity (black metal “purists” please be forewarned: this is an absolute hi-fidelity production to the max, so if you are looking for 4-track white noise soaked in goats blood, be sure to look elsewhere). The only shortfall for me is the final track Lucifer, where the band tries their hand at doom metal, old-school style. The track seems a bit long and unnecessarily repetitive, although it could be far worse for a band of this caliber.

Ed’s Rating:

King says: “If I ever get a Polish scent hound, he shalleth be named BEHEMOTH!”

Behemoth – “Ov Fire And The Void”

(Warning… video NSFW)

Andy’s Review:

Since 1980 with the arrival of Venom, black metal has found its throne at the forefront of a shifting metal scene. There has always been some sort of controversy with what black metal really is, and who supplies the “truest blackened sound”. Whether you’re a fan of the early years of Bathory & Hellhammer or the 2nd wave with Mayhem & Emperor, you have to admit, it’s gotten even more interesting at present day (I’m sure I’ll have my balls cut off, liquefied and placed in a chalice to devour along side a bloody lamb dinner for saying that). These days, black metal has broken the mold of satanic ideologies, corpse paint, and 6″ spikes to just some regular dudes with beards and shaggy hair who look like they should be playing in Eyehategod. Whatever it is about black metal that changes, it definitely isn’t the gargantuan atmosphere that permeates from its sickening pores.

After researching the black metal movement for some time now, I have yet to hear of an Irish black metal band. Excited? Hell yes! If I hadn’t known these lads were metal before seeing the artwork, I probably would’ve looked this over. With their new full length White Tomb, Altar of Plagues display a pummeling, emotional, aggression… taking primitive black metal and experimentation to new heights. The first track “Earth: As a Womb” reeks of Isis, with its subtle fade-in and delicately delayed guitars. This builds for 2+ minutes, at which point the black metal persona of AoP is unleashed like a kick to the junk that insults with its ugliness and excites with barbaric force. Unfortunately, from here on out, it’s much of the same stale formula. It’s exciting at first, don’t get me wrong, but I would’ve preferred longer bm passages to the noiseless, boring stuff. The songs on White Tomb teeter on mellow Isis-styled experimentation and strong black metal riffs, which at times, don’t seem to fit the same puzzle. Coming from a country that has been completely silent in the black metal scene, I was hoping for a little more of something I hadn’t heard before.

Overall, the production is pretty damn good. It has a nasty, overly-noisy distorted feel to it that sounds like a train about to derail. The guitars are the perfect blend of primitive Darkthrone-fuzz and that Wolves in the Throne Room “creepy cave” sound. The searing vocals (although your typical black metal screams) bleed through the speakers with intense sincerity and conviction. The rhythm section plows & crushes through the thick whirring of buzzing guitars and screams, capitalizing on total brutality and passion.

As White Tomb proceeds for almost 50 minutes, it expresses a lot of emotion, dragging and pulling to get its point across… these guys aren’t fucking around. If this is the direction that (one of the many) different sub genres of black metal will continue in, I can’t say I would be unhappy (even if it does in fact, become the “next sound” for the black metal hipster to indulge in). After all, music shouldn’t have a face to its sound.

Andy’s Rating:

King says: “If you’re curious to know what Isis skull fucking Wolves in the Throne Room sounds like, I’d recommended picking this one up.”

Justin’s Review:

Ireland isn’t exactly known for its stellar exports in the world of metal. In fact, when I think of Irish music in general, the bloated drunk-punk babbling of bands like The Tossers come to mind (or even worse, anything post-1987 by U2). So in that regard, discovering a band of New-Wave Black Metal Irishmen was a feckin’ delight.

Being that Altar of Plagues take a page (or two) from “Post-Rock for Dummies”, they will no doubt draw comparisons to their bm brethren Wolves in the Throne Room (giving Pitchfork readers yet another black metal band to get a boner over). A fair comparison, though though with White Tomb, AoP takes tree-hugging black metal to a much darker, more foreboding place. To quote guitarist/vocalist/synth player James O’Ceallaigh; “The sentiment of White Tomb goes beyond [the Apocalypse], it describes a mass disconnection with the Earth” (to note… this lyrical sampling: “A once sacred womb, now more akin to a furnace“). An interesting concept for sure, and one the AoP handles with a great deal of integrity as the album progresses.

Technically speaking, White Tomb is divided into two songs, (“Earth” and “Through the Collapse“) each comprised of two separate movements. While that’s perfect for your “black-metal-on-the-go” playlist, it doesn’t really do the material justice. Have you ever tried watching Goodfellas with commercial breaks? Yeah, same shit. Like any good cinematic endeavor, White Tomb works best when experienced as a whole. So, despite the bleak outlook, AoP certainly prove a good point… the end of the world will suck, but it’s going to sound pretty damn cool.

Whether you’re a bm n00b, a veteran corpse-painted snob, or simply wonder about the sonic qualities of our planet’s undoing, I’d recommend picking up this disc. Or maybe buy the mp3s… they’re greener. Just make sure to listen without distraction.

Justin’s Rating:

King says: “Never seen An Inconvenient Truth? Don’t bother… listen to White Tomb instead.”

Have A Listen:

Altar of Plagues – Earth: As a Womb (Sample):

Download audio file (AOP_EarthSample.mp3)