It’s been a long five years since we’ve had an album from this Norwegian foursome. Which is probably a good thing, considering their last few releases haven’t been their best by a long shot. Basically, since 2011’s V, the band has struggled to retain their days-of-yore sound while trying to expand on it and deliver something fresh. Having left Season of Mist and returned to Indie Recordings, now is the time to drop something new and exciting—especially if you’ve once again enlisted the mighty Mistur’s keyboard wizard, Espen Bakketeig, to lend a hand in the finished product. One spin in and Vreid fans will find a lot of what you’ve come to expect from the band, while also exploring some surprising new directions that are sure to drop your jaw. But, is that a good or bad thing for The Skies Turn Black?

As has become the norm for the band, we’re blessed with some killer guest appearances by the aforementioned Espen Bakketeig and Djerv’s Agnete Kjølsrud, a smart decision by Kampfar on the amazing Ofidians Manifest. While Bakketeig’s performance on 2021’s solid Wild North West, I felt he was underutilized when crafting his key atmospheres or lustful piano passages. Thankfully, that is not the case for The Skies Turn Black. Outside of the emotional piano interludes, you’ll find plenty of powerful, spacey, and quirky key atmospheres throughout. And Kjølsrud’s contributions to the almost gothy “Loving the Dead” make it one of the best songs the band has ever penned.¹

The album begins on a strong note with “From These Woods,” which is one of the longer and more epic tracks. After opening with some soothing clean and acoustic guitars, the black metal assault ensues. After passing through a dark alley of echoing clean-vocal support, the new riff change is nastier and heavier than ever. But the moment you get settled in, the song comes to a screeching halt, unloading beautiful piano, soaring guitars, and lush, clean vocals. When it concludes, you’re whiplashed with a vicious attack because the fucking song still has two minutes to go. Another track that has similarities is “Smile of Hate.” This one has a simple but headbangable riff in the vein of Amon Amarth, that marches along at one point and collapses into another impressive piano passage. This time, a little less ethereal and more like the piano and key work of Dimmu Borgir.

But, like all Vreid records in the last decade, there’s a point where things get real weird. Not in a negative way, like some previous material. On The Skies Turn Black, it begins with “Kraken.” It turns out this track is part of the soundtrack to this year’s Norwegian “blockbuster,” Kraken.² But being more synth-driven than guitar-driven, it has an eerie vibe that actually would work equally well in the movie Sorcerer.³ It’s not a standout track, but it’s the perfect introduction to “Loving the Dead” because it uses the same elements. As mentioned, this song stands way out because Kjølsrud dominates on vocals. This eight-minute epic takes you through so many emotions, from Kjølsrud’s vocals to the intertwined guitar work and the climactic finish. This special piece is definitely a Grier SotY contender.

There are plenty of other high moments on this record, which is hella nice to hear for a change. The track that really loses me, though, is “Echoes of Life.” It’s not a bad song, but it’s an odd duck of ’70s progness. While it’s smooth and clean, it’s too old-timey to fit with the rest of the album. Thankfully, the follow-up closer “The Earth Rumbles” reignites the fire before the album concludes. If “Echoes of Life” ended the record, I might be a bit more upset. But, I’m pleased to say The Skies Turn Black is Vreid’s best album since V. Which is wild to say considering there are four full-lengths in that time. The master is nicely done, letting everyone shine when it matters—especially the bass, which has always been a major staple to their sound. If the skies really are going to turn black, I’m here for it. After all, that’s better than the color they are these days.

Rating: 3.5/5.0
DR: Stream | Format Reviewed: Stream deez nutz
Label: Indie Recordings
Websites: vreid.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: March 6th, 2026

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The marriage of black and folk metal can take different forms, with folk infusions coming from instrumentation, melodies, and/or folk and pagan themes. Änterbila offers all of them, but presented disparately as stark components rather than fused together as an interconnected whole. Bookend instrumentals “Låt till Far” and “Eklnundapolskan” feature strings, a bagpipe, and choral harmonies between them, not unlike Saor or Summoning. These tracks conjure rustic firesides with an air of excitement as strange tales are told around them. Avart’s other six tracks are categorically different, hovering between pagan-leaning, late-eighties Bathory (“Kniven”) and the punky pluck of early Vreid (“Jordfäst”). I even catch a whiff of Bizarrekult (“Årsgång”) in the midst. None of the flavors are bad on their own, but without more cohesion, they’re a bit confusing on the same plate.

Avart is a lively affair, with snappy licks, punky riffs, and burbling kick rolls that whisk listeners through half an hour of sprightly black metal. Bandleader and founder Jerff wields axe and vocal duties, with Raamt abetting in six-string antics. The guitars trem pick their way through Avart, embracing an unadorned style that takes a few simple melodies, interchanges them every now and then, and rides through four or five minutes. There’s nothing inherently wrong with this stripped-down approach, but without more distinctive hooks or emotive vocals, the songs bleed together. Drop me in the middle of any of the songs, and I’ll have a tough time naming which one it is unless Jerff repeats the title several times (“Kniven,” “Jordfäst”). Another issue Änterbila grapples with throughout Avart is repetition. Even with such a compact runtime, there’s not always enough substance to justify track lengths. “Jordfäst” could explore its ideas in two-thirds the time, for example, but instead pushes them past optimal duration. As it currently stands, there’s enough material for a solid EP, but relentless refrains without variations make shallow wells, and drawing from them too often becomes tedious.

Änterbila’s strengths lie in creating a dangerously charming atmosphere and not overstaying their welcome. Avart’s old school production underscores its low-fi mood, perfect for settings of yore where things lurking within shadows go bump in the night. Even though the mix isn’t polished, it ably captures Svaltunga’s punchy bass and drummer Monstrum’s quadrupedal onslaught. There flows an energy in the music that crackles with roguish vigor, and it’s here that Änterbila excels. It’s a shame lyrics weren’t included as part of the press kit since dark folklore provides such fertile ground for music. Understanding what the (presumed) native Swedish translates to could have heightened my appreciation for what secrets Avart holds. Still, the runtime is trim and helps deflect some of the monotony of simpler song structures, keeping the overall package easily digestible.

Änterbila possesses all the ingredients for a rollocking good time, but fumbles with the recipe. The folk metal tag is a bit misleading, and given that the folk elements are so well-executed in the intro and outro, it’s disappointing that Änterbila didn’t incorporate them throughout the entire album. Doing so could have thwarted the uniformity across the remaining songs, adding dynamism and a through-line that brings everything together with reinforced congruity. Every time I spin Avart, I hope to find something I’d missed previously, because I want to like it more than I do. Avart seethes with potential, and while I don’t regret any of the time I spent with the album, I don’t expect to return to it, either. Hopefully, the next iteration delivers on the promise Änterbila has established here.

Rating: Disappointing
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Nordvis Produktion
Websites: Bandcamp | Facebook
Releases Worldwide: November 14th, 2025

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After being dormant for eight years, Khold surprised the masses in 2022 with their comeback album, Svartsyn. And boy did they come back in a big way—completely erasing 2014’s Til endes from my memory. Reformed with all the key players and even feistier than ever, these Norwegian giants had me so convinced of their greatest that they made it on old Grier’s top-ten list. Nothing made me happier that year than hearing Gald’s signature snarl and Sarke’s punishing drum work. Hell, I would have been happy just to hear the album, much less love it the way I do. Two years later, it looks as if the band is sticking around because now we have this year’s Du dømmes til død. The biggest difference between this new record and its predecessor is the recruitment of Sarke’s bass player, Steinar, and a trimmed and tight thirty-two-minute runtime. Not to mention that this is a concept album about various characters being condemned to the death penalty throughout Norwegian history. But can this new album keep me as engaged as their last with eight minutes less time to incorporate their unique songwriting style?

One thing is for sure, Khold no longer has any interest in returning to the days of Masterpiss of Pain and Phantom. Though the rhythm section continues to be a focal point, today’s Khold hits hard, bringing the vocals closer to the front for a gnarly effect. Against the best wishes of the black metal purists who want everything to sound like it was recorded in Holdy’s bathroom, Khold modernizes their sound and even digs deep into the dynamics. For example (if you haven’t already scrolled to the bottom), Du dømmes til død is a gorgeous DR11. Yup, you read that right. The result is a black metal gem where you can hear every strum, bass pop, and snare hit without pulling out the weedwhacker.

“Myrdynk” begins with a mid-paced drone that Gard relentlessly vomits all over. It’s an odd choice for an opener because it doesn’t really go anywhere and only shows life when it passes into Chugville at the end. Unfortunately, it doesn’t set up the album in a way that would prepare you for what’s coming next. And, what comes next is “Vanviddfaren”—a black ‘n’ roll beauty with a hopping attitude. In the middle, it slogs along in Vreid territories before completely changing directions into a quasi-thrash lick that punches hard to the end. “Galgeberg og Retterbakke” is perhaps the most engaging song on the record. It’s an unapologetic cruiser that never lets up, morphing from one killer riff to another. The chorus, in particular, uses a crushing riff and memorable vocal performance that makes it a complete song.

But, the tracks with the most memorable choruses are “Skoggangsmann” and “Trolldomsdømt.” The first begins with a badass riff that transitions to a Sodom-like chorus. In a mere three-plus minutes, this song rises, falls, charges, and drags, making it difficult to figure out what’s coming next. But, before you know it, you’ll be belting out the song’s title with the same delivery as Gard. “Trolldomsdømt” is similar only in that you’ll want to learn a new language to participate in the chorus. While “Skoggangsmann” is a thumping piece, “Trolldomsdømt” has a more traditional black metal approach. It opens with distant, dissonant guitar play as Gard spits all over your bib. It eventually digs deeper into some old-school Darkthrone riffage before drawing out long sustains, with Sarke’s drum work pounding on your cranium until it concludes.

While I enjoyed Du dømmes til død, I’m afraid I like Svartsyn more. But, they’re only minor issues here. Unfortunately, they start at the beginning of the album. “Myrdynk” does not get me in the mood for a Khold record. It’s slow and surprisingly boring and only piques my interest as it’s ending. “Heks (Du dømmes til død)” is another I can’t get behind. It’s a fun piece but the weird bass work and the dissonant, Satyricon-esque sustains do nothing for me. But, in the end, Du dømmes til død still a solid album with some cool approaches to the songwriting—particularly, “Skoggangsmann” and “Galgeberg og Retterbakke.” And, with the impressive focus on the dynamics and its short runtime, it’s an easy album to put on repeat. Though it’s not quite up to par as their comeback album, fans will still enjoy Du dømmes til død and appreciate it for what it is.

Rating: 3.0/5.0
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: Soulseller Records
Website: facebook.com/khold.official
Releases Worldwide: March 22nd, 2024

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I’ve been listening to and reviewing Ars Moriendi since 2016. And the only way I can describe this French one-man black/progressive metal band is that it’s a JOURNEY. Though a typical Ars Moriendi album consists of five to six songs, musician Arsonist packs each album with fifty-plus minutes of chaos. And nothing this man does is the same. While there’s definitely a style and theme to the band’s records, each release explores another facet of that sound. This time, Ars Moriendi has ditched many of the horn and wind atmospheres for traditional atmoblack ones. Instead of bombastic symphonies coating his vicious black metal slayings and soothing acoustic guitars, this focused approach allows Arsonist to explore and tinker with guitar-led atmospheres, female choirs, and bizarre yet unique effects. The result isn’t so much a change in direction as a new experiment. Though I know Ars Moriendi well, nothing prepared me for Lorsque Les Coeurs S’assèchent.

That said, I did expect a lengthy opener that throws every strange and fascinating influence at you, whether you like it or not. The title track is an eleven-minute venture into mind-fucking insanity. Opening with acoustic guitars and soothing clean vocals, I’m immediately transported to Viking-era Bathory. But that feeling is short-lived when the building bass and growling vox erupt into a black metal attack that reminds me of mid-career Samael.¹ Yet, the song never holds still, adding Enslaved-like progressiveness, devastating passages, and a chaotic conclusion that piles every one of the song’s elements onto a mound equivalent to the height of the Skull Pit.

But, for all the opener’s ADHD attitude, “Voyage Céleste” takes the cake. This jarring number fucks with every possible emotion, leaving you little chance to absorb a passage before it’s replaced with another. Take the opening minutes of the song. It lulls you into a sad state with sinister whispers and acoustic pluckings. The drums add flavor as the tension begins to break. And when it does, we might as well have changed songs. The transition is so vicious that it pushes your balls up into your throat. Then, it changes again; using high-pitched guitar leads to blanket the vocals and bass. But the most unexpected moment comes when everything collapses into churchy organs and cathedral choirs. And it’s here where you remain trapped for the rest of the song.

“Le vers dans le fruit” is perhaps the most straightforward of the bunch. But that doesn’t mean it translates into predictable and boring. Not at all. “Le vers dans le fruit” is a violent black metal assault with mighty riffs and slick guitar work. It’s a landscape of hills and valleys when the instruments follow the soaring, clean vocals to the top, and the acoustic guitars bring it down to soothing streams and dewy valleys. Then, it turns on you, erasing the beauty around you as the snarls, growls, and grimaces follow the marching chug of an army from hell. Everything burns, and nothing remains.

If “Le vers dans le fruit” is the most straightforward, closer “Le blasphémateur” is anything but. Mixing pianos with Vreid-esque black metal gallops, Arsonist again does everything he can to keep you from unraveling the song’s truth. From popping bass leads, cleverly-timed snare raps, building chugs, dissonant atmospheres, and aggressive sound bytes, there are no answers to this chaos. Every time you feel a climax coming, it returns to the haunting pianos, only to start again. Even when the chugging riffs push the song to its final minutes, it leaves you trying to understand what happened.

While I favor 2019’s La solitude du pieux scélérat to this new platter, there’s a lot of good, weird shit here. The strangest being the closer and “Nous sommes passés.” The latter so much so that I can’t tell if I love it or hate it. Relying on the heavy usage of industrial effects and slithering bass, it stays the course for its five-plus-minute length, never swaying from its unsettling direction. Regardless, Lorsque Les Coeurs S’assèchent is yet another door into the bizarre mind of Arsonist. I’ll never get tired of Ars Moriendi’s output because each record stands alone, venturing into a different aspect with each release. This time around, it’s all about simplicity. Nothing is overly bombastic, the guitar tone is richer, and the record is calmer and less aggressive than previous outings, which makes it a fitting addition to the Book of Ars Moriendi.

Rating: 3.5/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Archaic Sound | Bandcamp
Website: facebook.com/arsmorie
Releases Worldwide: August 4th, 2023

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Stylistically, not too much changed between the Cloak of 2019 and that of today. Vaguely gothic, rock-and-roll-influenced black metal remains the modus operandi of this Atlanta, Georgia quartet. Their mission statement has carried over as well: reject the conventional standards and pressures of today’s society and search for your own path to fulfillment and spiritual nourishment. However, Black Flame Eternal is more aggressive—and more aggressively black metal—than before. Their Dissection, Tribulation, and Wormwitch blend somewhat disposes of many Tribulations heard on past work in favor of a heavier, riffier edge more akin to Vreid. A hint of gothic shadow still casts its pall over these tracks, providing a smoky, ominous tone in the album’s darkest passages. Nonetheless, Black Flame Eternal stands as a more rebellious, more direct, and thereby more engaging record that should largely satisfy many who were unenthused by Cloak’s pre-pandemic material.

Black Flame Eternal offers well-conceived ideas and fleshed-out songwriting more consistently and at a higher standard than before. Opener “Ethereal Fire” sets off a blaze in short order, pulling out foreboding chants and affecting clean-picked leads, played in partnership with blasting tremolos and fist-pumping marches. It’s even more difficult to resist banging my head to the infectious groove of “With Fury and Vengeance” at its most venomous, while its peaceful moments leave me entranced. “Invictus” and “The Holy Dark” pummel the ground with vicious gallops and big bouncy leads and tremolos, swerving and slithering between black metal and gothic rock n’ roll with an acrobatic deftness that belies their six-plus-minute runtimes. After an admittedly lengthy introduction, “Seven Thunders” kicks things into high gear with a punchy D-beat rhythm and really cool cleans that inject a bit of gothic fun into Cloak’s most energetic record yet. To that point, Black Flame Eternal as an album flows more smoothly than past efforts, thanks to more thoughtful transitions between different paces, tones, and textures which together prime the listener for an immersive experience.

The biggest detractor in Black Flame Eternal’s case is, as before, bloat. Each and every song here could be trimmed by at least a minute and as a consequence gain greater impact with minimal loss of substance. Worst offenders “Shadowlands” and “Eye of the Abyss” test my patience, dragging along without compelling riff/lead interactions, rousing choruses, or snappy songwriting swerves. To add insult to injury, the album’s least compelling passages create an incredible amount of tension through musical foreshadowing, except that they don’t follow through with a satisfying climax or conclusion. An additional problem that surfaced after repeat spins; album memorability is surprisingly low. While I enjoy the vast majority of Black Flame Eternal in the moment, I don’t remember any of it once I walk away, even if only for a moment. Without sharper teeth to sink into my flesh and leave lasting scars, Black Flame Eternal lacks the capability to stick with me over time.

Cloak used the extra time they would have spent touring The Burning Dawn to hone their craft and work their third record more thoroughly. As a result, Black Flame Eternal is an improvement over their previous record, which I feel I slightly overrated in retrospect. This record is a fine example of what happens when you take your time to get things right and iron out the creases. These songs are stronger, more consistent in quality, and more engaging than anything Cloak has released thus far. Of course, there’s still much room for growth, but the band is in decent shape in 2023 and I have no doubt they will continue to improve.

Rating: Good.
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: cloakatlanta.bandcamp.com | facebook.com/cloakofficial
Releases Worldwide: May 26th, 2023

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Every time someone mentions Vreid, they (including myself) have to introduce them as the phoenix from Windir’s ashes. It usually goes something like this: “Yadda yadda yadda, did you know this is basically Windir without Valfar? Also, did you know Valfar died the most black metal death ever?” Now you’re caught up. Probably the biggest reason Windir comes up all the time is that poor Vreid hasn’t put out anything outstanding since 2011’s V. I still remember purchasing the follow-up album, Welcome Farewell, without sampling a single song and thinking, “What the fuck is this?” When I saw the new Vreid album in our shit promo bin, I let out a sigh of dismay. Here goes nothing.

Well, now that I have you expecting the worst, let’s talk about the rather enjoyable new album, Wild North West. Meh name; cool cover art; good album. Like I Krig and Milorg, this new release is a concept album. Instead of learning some history, the concept here is the ups and downs of life as we wait for death. But, more specifically, bassist Hváll says the inspiration for Wild North West comes from his struggles, knowledge, and experience. One of the coolest parts about the album (not to bring Windir up again) is that some of what you’ll hear Valfar wrote back in 2002. Crazy enough, you’ll also hear him play it. He hasn’t risen from the grave, but it sure as shit feels like it.

The concept in place, Valfar’s spirit among us, Wild North West looks like it has a chance. When the organ of the opener transitions to a classic Vreidian black ‘n’ roll number, I’m already having fun. Not that it’s a particularly amazing song, but the melodic layering of cleans and growls isn’t unpleasant.¹ But you don’t know how fun Wild North West is until you hear “Shadows of Aura.” Following the effective and pleasing slow-paced steamroller called “The Morning Red,” “Shadows of Aura” is a black ‘n’ thrash nut buster. After the bass gets the legs stretched and the lactic acid worked out of the muscles, the thrashy lick comes at you like a spiked boot to the nether regions. But Vreid being Vreid, you shouldn’t expect one-dimensionality. The song is more than its headbanging base—there are plenty of melodies and some slick guitar leads.

In general, Wild North West is out to catch listeners off-guard. Thrash metal one second, classic black metal the next, and rounded out by Ghostcore. And, oddly enough, all three are in a row. After you’ve had your thrash kick, it’s followed up with a sinister number called “Spikes of God.” Of all the tracks on the album, this is by far the blackest. I dare say this is some of the blackest riffage the band has dropped in a while. Nothing outstanding or original, but I didn’t expect it. Then we have the oddity that is “Dazed and Reduced.” There’s no real way to describe this song without mentioning Ghost. The vocals are clean and spacey, and the music is reverberating rock. Not my favorite style, but it’s another pleasant piece and a nifty surprise.

My favorites, though, have to be “The Morning Red” and “Into the Mountains.” The first has the perfect balance of haunting sustains, black metal dissonance, and low, haunting vocals. Its sinister character and headbangable chuggery add to the album’s variety. Honestly, it’s this up-and-down rollercoaster ride of variation that’s the reason I love Vreid’s Milorg release. While “The Morning Red” is a fairly level-headed piece that picks a pace and sticks with it, “Into the Mountains” is the complex epic. Although it’s only a little over four minutes, and closer, “Shadowland,” is ten, “Into the Mountains” covers far more ground. That’s kinda why I don’t like the closer. “Into the Mountains” combines child choirs² with angelic cleans and gnarly growls, it’s an atmospheric wonderland. Then, when you think it’s gonna settle in, it stops. In its place, Valfar’s spirit enters your ears with some bizarrely satisfying keys. At first, I thought it was just nostalgia, but this is a great song.

Even with some clever and exciting tracks, I can’t skyrocket the score. The opener is run-of-the-mill Vreid, “Dazed and Reduced” is a love or hate, and the closer is way too long. The latter, in particular, leaves a lot to be desired. When you sit with it, you can hear two decent tracks from it—each one focusing on the best attributes. Instead, it just feels smooshed and forced to work together. That said, this is one of the band’s best outings since V. Not quite up to the level of that album, but it has some fun, pleasing, and headbangable moments on this journey to death.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Season of Mist
Websites: vreidsom.bandcamp.com | vreid.no | facebook.com/vreidofficial
Releases Worldwide: April 30th, 2021

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Kankar is the project of Strið on guitar, and Plágan on drums. German black metal is often of the scary, uncompromising variety, but Kankar is more blend than trve kvlt. The band combines black metal with elements of pagan metal, black ‘n’ roll, and even smidgens of death and traditional heavy metal. Think early Immortal mixed with Vreid and maybe a touch of Uada. Dunkle Millennia is the band’s debut LP, following 2018’s EP, Elemental Fury, and it arrives, like many debuts, a bit shaggy, but fully formed, bursting with creative ideas in a genre that occasionally feels stale and worn. It’s sheer energy is its greatest strength, but is also what occasionally holds it back, too.

About those riffs. Like pieces of Lego left scattered by an errant toddler, they come in all shapes and sizes… and they’re everywhere. You’re also likely to step on one when you aren’t looking. From opener “Gier,” with its sinewy melody that twists around a thunderous, relentless drum, they hit hard and they keep coming. More impressively, they’re carried off with a swagger and confidence that recalls those seminal Immortal albums from the 90s. Some are of the more traditional, tremolo-picked, black metal variety (“Thüringer Schwartzmetall”), while others have a distinctly black ‘n’ roll swagger (“Krater in Sarx,” “Zerfall des Lichts”). They’re catchy and compelling without sacrificing any of the bite one expects from vicious German black metal. The riffs carry Dunkle Millennia, and the production wisely emphasizes them, highlighting their crackling energy.

There are some minor missteps. Like a puppy tripping over itself in its sheer exuberance, Dunkle Millennia intermittently struggles to find its preferred gait. The band is so keen to demonstrate its next killer idea, that it sometimes fails to fully explore the one it’s currently smashing out. “Too many ideas” sounds like a first-world problem, and it is, but occasionally you feel the band should just slow down and explore rather than barrel forward relentlessly. The clean vocals don’t appear very often, but when they do (“Festmahl für die Krähen,” “Vergeltung”), they’re unconvincing, and stand in stark contrast to the confident growls that permeate the rest of the album. While Kankar does imprint its personality on the material, it is nevertheless very well-established ground that the album inhabits. It’s extremely entertaining, but it’s not exactly original.

Quibbles aside, Dunkle Millennia is very good. It brings the swagger, it brings the fun, it brings the bite, but most importantly, it brings those brilliant riffs. The journey may not always be even, but it’s never less than supremely entertaining. This is an excellent riposte to those who claim that black metal is “boring.” It should also appeal to those who like their traditional stuff with a heavier, nastier edge. Bands like Kankar show that the future of black metal is exciting, and Dunkle Millennia will almost certainly take them from the underground to the attention of a much larger audience. If you want to be able to say you heard them before they became big, don’t let this pass you by.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Eisenwald Records
Websites: kankarofficial.com/ | facebook.com/kankarofficial/
Releases Worldwide: March 19th, 2021

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So far, 2019 has been a year of anticipated releases for me.¹ And, one I’ve been waiting a long time for is another new release from Stellar Master Elite. Twenty-fifteen’s III: Eternalism – The Psychospherical Chapter was the band’s pinnacle release. It combined Vangelis’ synthetic wet dreams and mind-tripping soundclips with second-wave assaults and Vader airstrikes. Though everything SME has released is solid, III brought with it a new vocalist and direction. Building atmospheres now reign supreme over the band’s early days of traditional black metal. The result, as I mentioned in my III review, was something spontaneous, borrowing from a variety of black and death metal influences.² Though III concluded the trilogy, there’s still loads of fun to be had on Hologram Temple.

Now, of course, “fun” is an objective concept. Yet, for me, it involves obliteration one moment and having my mind fucked in the next. Much like a suspenseful horror movie, Hologram Temple³ will never let up or give you a chance to exhale, while, in the next moment, soothing you with its lush interludes and effects-driven instrumentals. Hologram Temple ain’t for the gym and it ain’t for this summer’s family road trip. It’s for a dark, quiet room. One there you can absorb the power and majesty of this unholy synagogue.

As for album hard-hitters, none hit bigger than “Freewheel Decrypted,” “Black Hole Dementia,” and “The Beast We Have Created.” “Freewheel Decrypted” is the beastiest of them all. This opening-track successor has the heaviest Vader-esque riff the band has ever written. It’s a monstrous tune alternating deep growls and throaty rasps to the song’s Vaderian verses and Gorgorothian chorus. This is by far my favorite of the album. Like “Freewheel Decrypted,” “The Beast We Have Created” has a head-bobber of a lick. The songwriting, though, has a bit more black metal in it that, at times, reminds me of Milorg-era Vreid. It also concludes with the mind-warping effects that’ll have you picturing Deckard flying over his hopeless, dystopian city. “Black Hole Dementia,” on the other hand, is fucking Carpathian Forest-core. Its black ‘n’ roll antics are the most surprising of the album. It may not play well with others but it still fits well.

That also goes for closer “Tetragon.” This is no III closer. Rather than two-ish minutes of effect-ive atmospheres, “Tetragon” is a fifteen-minute exploration in synthetic, mind-numbing Thornsiness. This piece seems predictable until it rams a black metal suppository up the ass of an unsuspecting senior citizen. Once the distorted surprises subside, it settles into manufactured musings for the final third of its length. “Ad Infinitum” is similar in approach but with more synths and fewer vocals/distortion. This piece of hyperdimensional perception drags you into the dark cavern of psychedelic effects and into out-of-body experiences.

First impression: Hologram Temple is a proper follow-up to III: Eternalism – The Psychospherical Chapter. It has all the same traits that made me a believer of Eternalism, yet with some obvious growth and experimentation. One of the biggest differences are the vocals of returning champ, E.K. While his debut in 2015 was fantastic, he has developed even more strength and diversity on Hologram Temple. Instead of those black Satyr-like rasps of III, his voice has developed into the sinister, second-wave gargles of a vocalist like Pest (ex-Gorgoroth). He’s also not afraid of letting those throaty barks shine. The band has also put some of the trips to Thorns-ville aside for more Vangelis-like material to construct their place of worship. Final impression: Hologram Temple is every bit as good as III and I thank whatever deity dwells in their mosque for that.

Rating: 3.5/5.0
DR: 5 | Format Reviewed: 192 kbps mp3
Label: Unholy Conspiracy Deathwork
Websites: stellarmasterelite.bandcamp.com | stellarmasterelite.com | facebook.com/smemusic
Releases Worldwide: May 3rd, 2019

The post Stellar Master Elite – Hologram Temple Review appeared first on Angry Metal Guy.

It’s been a strange year for Grier. The levels of confusion and frustration in my work and personal life have been more than I can bear. Resulting in daily migraines, the worst bouts of depression I’ve ever experienced, and working more than I did when I had my own business. And, to be honest, I haven’t a clue what lies ahead. Never in my life has my future been so unclear. Something I thought I would never have to deal with again since leaving said company. But, AMG never lets me down. Even when I was a reader. Though most of the crew doesn’t realize it, they’ve been my support group for years. Thank you AMG, Steel, and Madam X for always being there for me. You three have no idea how much you’ve made my life better. I also want to thank Dr. Wvrm for all his help with the editing of what seems like thousands of reviews this year—noob and vet alike. Sharing this job with you has been a pleasure and I appreciate all that you do.¹

Now, I don’t mean to bitch. Everyone’s got their shit and it’s only fair that I should be no different. But, as with any year, my jumbled selection of top picks needs justification. Some of what you are about to see is terribly stupid, some are as confused and frustrated as me, and others are my mood at 100 mph, on a highway straight to my grave. There’re low and high points, light and dark, and plenty of contemplation—should we continue or give up this fucking fight? While I won’t deny that 2018 was a great year for metal, it wasn’t until the end of the year that things started clicking for me. Most of the year, I was barely grasping at a top five, much less a top ten. When my headache’s finally subsided long enough to listen to shit, I discovered that 2018 was full of slow-burners. Records that became monstrous with each passing moment and each warming spin.

Twenty-eighteen was a good year for black metal, a bad one for thrash, and—to many—the final nail in the coffin for bands like Vreid, Behemoth, Machine Head, and Pig Destroyer. Forgotten and underrated bands shot their way to the top of lists (Chapel of Disease), unsigned outfits surfaced and shocked the entire community (Second to Sun), successful new eras began for bands of old (Craft and Immortal), and metal mainstays continued to drop masterpieces no one could deny (Kingcrow and The Ocean). Some made my list, some didn’t. Some albums may be “missing” in your eyes and others might be “out of order.” Whether you agree with me or not, I couldn’t care less. Take it or leave it, this is the Grier of 2018. I hope you’ve enjoyed the ride.

(ish) Priest // New Flesh – Yep, welcome to Grier’s personal nightmare. A nightmare where he tries to justify why an ’80s synth-pop record that scored a measly 2.0/5.0—filled with gimps and leather—would make his “ish” pick. Being the diehard Mercyful Fate fan that I am, Ghost’s Opus Eponymous was a magical journey into ’80s occult metal. And, as it turns out, Priest consists of members/producers that once called shotgun on their way out to the Mystery Van. But there’re no Scooby snacks available on Priest’s debut album. Instead, New Flesh whips out a hard-on dripping with Vaseline and throbbing to the rhythm of the Eurythmics and The Sisters of Mercy. It’s a uniqueness that no other “metal band” can match.² It’s a weird fucking nightmare but, goddamn, Priest have a lot of balls. And, for that, they deserve my odd pick for 2018.

#10. Pig Destroyer // Head Cage – Head Case Cage is one of the more controversial releases of 2018. Some have proclaimed it a new era for the band. Others have accepted it as an interesting break from the Pig Destroyer norm. But there’re many that consider Head Cage to be the Load of Pig Destroyer’s catalog, which I find fucking ludicrous. Love it or hate it, Head Cage is a fresh piece of work and one of the more original of PD’s discog. While tracks like “Torture Fields” and “Army of Cops” might be cleaner and more accessible than, say, most of Terrifyer, the thrashy riffs, rumbling bass, massive drumwork, and political themes make them impossible (at least for me) to ignore. Accept it or deny it for what it is, you can tell by the execution and songwriting that Head Cage is as strong an album as any in the band’s catalog.

#9. The Konsortium // Rogaland – From the comments originating from my review of Rogaland, few will agree with my placement of this thrashy black/folk record on my top ten list. But there’s not much I can do about it. This fucking album has me drowning in everything I love about bands like Ihsahn and The Deathtrip. As well as the fact that The Konsortium consists of a couple of my all-time favorite black metal musicians: Teloch and Dirge Rep. And though many of you had gripes about the vocals, Member 001’s use of shrieks, falsettos, and soaring cleans are some of the most original I’ve heard all year. Like Funeral Mist, the vocals have an “unhinged” quality to them like no other album on my list. Because of this, “Havet” and “Skogen” are, in general, a couple of the best songs I’ve heard all year. They also possess sweet saxophone, clean/acoustic guitars, and building melodies that go beyond anything the band has ever done before. Rogaland is powerful and spontaneous and, given enough time, its atmospheres and landscapes will suffocate you.

#8. Them // Manor of the Se7en Gables – Two years ago, I gave a little album called Sweet Hollow my “ish” pick. Why? Because I thought it might piss off the giant ape in the main office? Nah, I’m not that vengeful. As I’ve done for years, my “ish” pick is reserved for an album that I couldn’t stop listening to. Even if that album never scored higher than most of my honorable mentions. Two years ago, Them’s Sweet Hollow made the cut for being fun and because I’m a whore for King Diamond. Now it’s 2018 and Them is back with Manor of the Se7en Gables. And, I’ll be dammed if it didn’t secure a top-ten spot! While Sweet Hollow borrowed liberally from the King ethos, Manor of the Se7en Gables shows a heavy/speed concept that is more original than anything the band did on the debut. From vocals to instrumentation to songwriting, Manor of the Se7en Gables shows a band coming into their own.

#7. Crisix // Against the Odds – A lot of readers won’t agree with me on this one. Especially the thrash enthusiasts that find Crisix’s brand of goofy rethrash a mockery to the anti-governmental, anti-societal thrash from the ’80s. But, 2018 was not the year for thrash and only a few bubbled to the top. And, for me, Against the Odds is it. It’s a balanced disc with every nook and cranny filled with fun, crushing, and, at times, melodic numbers. “Technophiliac,” “Xenomorph Blood,” and “Get out of My Head” will have you improvising a mosh pit in your living room, while “Perseverance” and “The North Remembers” will have you striking up a Bic lighter and singing to the rafters. Though you won’t find anything groundbreaking on Against the Odds, it’s too fun to resist. Because of that, this little record has been my most-listened-to album of the year.

#6. Altars of Grief // Iris – I’m not gonna lie, I miss Woods of Ypres a lot. When David Gold died—almost to the day—seven years ago, I was devastated. And when the band’s final release dropped one month later, Gold’s loss sunk in. And it took me a good two years to get over it. Iris is the closest I’ve come to the empty, yet beautiful sound that made Woods who they are. But Altars of Grier Grief aren’t copycats. Though they have that Woodsy hopelessness in songs like “Isolation,” “Becoming Intangible,” and “Child of Light,” Altars of Grief hammer you with the sheer heaviness and black/death rasps/growls of “Iris.” It’s a dense record with black and white paints bleeding into gray. If Iris hadn’t been a last-minute listen and last-minute addition to my list, it may have been higher. But, for now, I’m just glad it’s here.

#5. Atlas Moth // Coma Noir – I never pen enough sludge/stoner reviews in a given year. Which is surprising considering I listen to the genre a lot—most likely due to a large part of the Arizona scene being doom, sludge, and stoner metal. I love me the kind that bumps and thumps, creating angry and gloomy atmospheres that liquify even the most-solid ground. And the kind that won’t allow you to escape its murky sadness and depression. When The Atlas Moth’s Coma Noir came out in February, it sucked me straight to the bottom of its quagmire. The nasty vocals, the crushing riffs, the moody vibes, and the Throwdown thrashiness combined with the Mastodon progressiveness made Coma Noir pure power. To lose even one piece of the puzzle would turn unstoppable tracks, like “Coma Noir” and “Furious Gold,” into mediocre ones. Thankfully, The Atlas Moth do what they do best. And Coma Noir is proof of that.

#4. Funeral Mist // Hekatomb – After months of discussing Funeral Mist’s Hekatomb in the AMG comments and, via their very own TYMHM piece, it’s occurred to me that this black metal gem can be described in one word: unhinged. Arioch/Mortuus writes the kind of black metal pieces trve fans dream of. Songs with no regard for rules or patterns, no regard for what’s right or wrong, no regard for the normal or expected. Hekatomb will kill your lawn, burn down your home, and, for good measure, torch your neighbor’s doghouse. “Hosanna,” “Cockatrice,” “Shredding Skin,” and “In Nomine Domini” don’t give two fucks about your peace, your happiness, or your fucking life. You might as well take your doors off their hinges when spinning Hekatomb. It’ll blow them off anyway.

#3. Sargeist // Unbound – I’m easy when it comes to black metal. That’s probably why my top ten black metal picks look different than my colleagues’. While I enjoy heavy meloblack releases, with their lengthy songs and murky atmospheres, I don’t always need them. Most of the time, all I need is a classic Scandinavian-styled record designed to set the world on fire. Sure, twenty of those come out a week during the year, but few of them work. And that’s why Shatraug is a myth amongst men. A man with so many releases under his belt that you expect the well has gone dry. And, one day, that may be true. But today is not that day. Instead, Shatraug has crafted a Sargeist record as relevant as ever. Unbound is equal melody and equal punishment, with a simple, yet complex, attitude. It’s a packed, pleasing disc that won’t disappoint any traditional black metal aficionado.

#2. The Ocean // Phanerozoic I: Palaeozoic – The Ocean always has me learning something with each release. If it’s geological eons or the ocean depths, I spend as much time researching the concept as I do listening to the album. Context is everything for The Ocean and Phanerozoic I: Palaeozoic is no different. Every song is a piece of a topographical puzzle, with valleys and mountains, climates and landscapes, and moods and attitudes painted to its surface. The Ocean’s music is more than sound waves protruding from my headphones. It’s something you can touch and feel. Each riff, each build, and each climax is as warm as human skin. And, Phanerozoic I: Palaeozoic has put goosebumps to the skin.

#1. Second to Sun // The Walk – Second to Sun and their epic The Walk are living proof that you can’t complete your annual top ten list in October. I still question a band’s motive for releasing an album so late in the year, but it happened. And, in reality, I’m sure no one gives a shit but music reviewers. After releasing The Black³ back in May, no one expected a second 2018 release from this Russian outfit. Not to mention one this good. Not only that but it was released as both a vocal and instrumental version. Listen to one, listen to the other, listen to both, or create a playlist that mixes the two. It doesn’t matter. Like The Ocean’s Phanerozoic I: Palaeozoic, both versions have their own thick textures—unveiling their many surprises and exposing fresh atmospheres with each listen. The Walk may have been slow getting to the front but, goddamn, I’m glad it’s here.

Honorable Mentions:

• Craft // White Noise and Black Metal – This album was so close to making my list, it’s not even funny. If it wasn’t for end o’ the year surprises—like Second to Sun—Craft would have remained in my top ten. Regardless, White Noise and Black Metal is the band’s most unique record to date. And arguably their best. Because of that, it deserves the top spot in Grier’s honorable mentions.

• Allfather // And All Will Be Desolation – Here’s another that fell off my list as others made their way into top spots. Which says something about how competitive my list became this year. And All Will Be Desolation is too good not to show up somewhere. It’s a beast of a record and one of the most destructive combinations of doom, sludge, and stoner this year.

• Immortal // Northern Chaos Gods – This is one the biggest surprise of the year for me. I mean, Immortal has always been good and has always been a favorite of mine, but how good can they be without Abbath? Well, it turns out, quite good. Northern Chaos Gods is the start of a new era for Immortal and I’m excited to see where it takes them.

• Death Alley // Superbia – Since 2015’s fun-as-hell Black Magick Boogieland, I’ve been waiting impatiently for another Death Alley record. But, when it finally arrived, I was not prepared for it. Superbia is no BMB, Part II. It’s a masterful achievement of proggy ’70s rock and, like BMB before it, it’s one of the most interesting releases of the year.

• Manes // Slow Motion Death Sequence – Manes is an odd duck. After making an early-career move from black metal to the avant-garde in the early ’00s (much like the mighty Ulver), the band continues to push boundaries with every release. Slow Motion Death Sequence is moody and trippy, yet smooth as glass. The end result is a captivating and stunning record that finds the band at the most-accessible period in their twenty-five-year career.

• Professor Black // Sunrise and I Am the Rock – Only one man would dare release three records on one day. And, of those three, two were fucking spectacular. Sunrise finds Black exploring the interesting combination of Bathory and the ’80s rock/metal stylings of W.A.S.P., while I Am the Rock is pure Motörhead worship. The man is a master at what he does and the calculated and meticulous songwriting of these two albums is clear.

• Vardan // Unholy Lightless Summer – Vardan has been a running joke at AMG Industries, Inc. for so long, I started to think they (he) had to be the shittiest band on the planet. It turns out Vardan (the man and the band) are actually quite good—regardless of how many albums he puts out a year. And the little, three-song record, Unholy Lightless Summer, is a pleasant surprise. It’s got the feels and moods and it doesn’t linger as much as its lengthy tracks may appear. It’s more “upbeat” than the other black metal releases on my list, yet it drags you deeper than most.

• Kingcrow // The Persistence – Three years ago, I had the privilege of reviewing Kingcrow‘s Eidos record. It’s a concoction of simple builds, atmospheres, and progressiveness that simply floored me. Though I’m not exactly the prog guy at AMG,⁴ Kingcrow plays the kind of prog that hooks me in the mouth. Combining the depressing atmospheres of the synthy “The Persistence” with Opethy Watershed-like moments of “Folding Paper Dreams,” the band presses against walls they erected eighteen years ago. This new record is stripped to the bone—focusing on an interlocking theme and vibe that “persists” from opener “Drenched” to closer “Perfectly Imperfect.”

• Amigo the Devil // Everything is Fine – Musically, Amigo ain’t metal. But he’s about as metal as a folk/country musician can get. About as metal as Tom Waits’ Black Rider, if that gives you perspective. And anyone that’s been to a west-coast metal festival and seen him play his acoustic, one-man shows at breweries, distilleries, in backyards, and between the sets of Agoraphobic Nosebleed, Pig Destroyer, and Power Trip consider Amigo family. With three untouchable EPs under his belt, Amigo’s first full-length is finally here. Within you’ll find yourself laughing to “Hungover in Jonestown” and “I Hope Your Husband Dies,” singing along to “Hell and You” and “Everyone Gets Left Behind,” and curling up to die with “The Dreamer” and “Cocaine and Abel.” Once you’re in, there’s no way back out.

• Wardruna // Skald – If you haven’t heard Wardruna but you’ve have seen the Vikings TV show, then you’re a liar. You’ve heard Wardruna. This shit is so out of the norm for me that it had to make an honorable mention. Typically using choirs and orchestration to bring his old-fashioned Scandinavian folk to life,⁵ Einar Selvik has stripped everything back with this year’s late-arriver, Skald. Case in point: the sixteen-minute poem, “Sonatorrek.” Skald is a soundtrack to a time long gone, whose cultures and traditions live through the vocals, instrumentation, and songwriting of Wardruna. Skald may not be for everyone but, it’s still impressive.

Disappointment o’ the Year

Machine Head // Catharsis – “Triple Beam.” ‘Nough said.

Songs o’ the Year

The Beauty: Rauhnåcht‘s “Gebirgsbachreise” – Talk about love at first sight. I’ve had this song (and it’s album Unterm Gipfelthron) for only a couple weeks but this gorgeous instrumental floored me. It’s a simple piece but that’s what makes its bass leads, acoustic rhythms, and folky atmospheres so rich and captivating.

The Beast: Pig Destroyer‘s “Torture Fields” – I know, I know. This isn’t what you expected from a Grier Song o’ the Year. But there’s nothing I can do about it. Not only are the breakdowns at 1:20 and 2:30 some of the more neck-snapping of 2018, but the violent conclusion makes the band sound like they are an actual steel-manufacturing plant. Not in one. Are one. Of all the songs I’ve heard this year, this is the one I’ve listened to the most.

The post Dr. A.N. Grier’s Top Ten of 2018 appeared first on Angry Metal Guy.

What should be the easiest part of the review ends up being the most difficult here: what does this sound like? That depends on what song you listen to. The influences I can track here are Vreid (circa V), Dissection, Deathspell Omega, Second Wave black metal as a general sound and idea, Lock Up, Toxic Holocaust, Kataklysm, Ulver’s Nattens Madrigal, Incantation, and Profanatica. If your first reaction is “huh?” then join the club. I’m all for trying new things, but when I want to try a new beer I don’t just dump three lagers, two pilsners, a stout, and five different IPAs into a glass and chug it back¹.

Witchcraft Warfare is, by necessity, an album full of not good songs but good parts of songs. One stirring moment is the nice Kataklysm circa Epic: The Poetry of War riff that rears its head in “Arsonist Dreams” and resurfaces as its closing theme. The darker Slaughter of the Soul-isms that make up the verse in “Cathedral of Runes” are interesting, as are the shouted vocals which are used sparingly and remind of the more theatrical moments of Acherontas. Overall, “Cathedral of Runes” is the best song here, containing a bouncy thrash riff akin to what Toxic Holocaust would sound like playing groove metal, the galloping staccato of Suffocation, and something like modern Cryptopsy. None of these elements are developed into anything and are just thrown into the mix presumably because the band likes those aspects of the above acts. This type of songwriting is the downfall of the record.

Out of seven songs, there’s one absolutely useless track in “Rain,” a two-minutes-and-change introduction that sounds like a watered-down version of the well-done intro on Deathspell Omega’s Drought with the addition of annoying Silencer-style yelping vocals which are fortunately never used in such an obnoxious way again. “Pissing O.T.N.F.” forces the listener to sit through some truly uninspiring death-grind akin to a nondescript Lock Up track that took influence from Nausea before aping Nattens Madrigal to the point where, if there was a musical version of TurnItIn, Vuohi would definitely be called to see the academic dean when this was run through it. “Isotope Annihilation” sounds like it’s trying to rip off Incantation’s Diabolical Conquest and not succeeding too mightily, and given that there are literally thousands of bands who take this approach and do roughly as well, this is another throwaway moment amongst many.

I’m clearly the wrong audience for Witchcraft Warfare. That said I have no idea who the audience for this type of music is. I like the individual parts and influences that make up Vuohi’s sound, and I cannot fault the band as musicians; they play snippets of each style competently. The production is oddly appealing, with a thick, omnipresent bass, snappy drums, and guitars that find a sweet spot between reedy and crunchy. Let me close by presenting you with a scenario. It’s 2007 again, and you’re a young metalhead with a $100 in iTunes gift cards; your family doesn’t know where to start with your increasingly extreme tastes in music. You stare at the computer screen, trawling through iTunes, hoping to find treasures. You ask your metalhead friends on MSN Messenger for recommendations, and they give you a laundry list. You check out one thirty-second clip from each of the myriad records, taking an all-you-can-eat approach to sampling the tunes. Now, take all of those thirty-second samples and throw them into Audacity. Smooth out your volume levels and voila: you’ve basically got what Witchcraft Warfare sounds like from a songwriting standpoint. Maybe I’m too stupid to get it, or maybe there’s nothing of substance to get. Either way, Witchcraft Warfare left me unenthused.

Rating: 1.5/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Saturnal Records
Websites: vuohifinlandbandcamp.com | facebook.com/vuohi
Releases Worldwide: November 9th, 2018

The post Vuohi – Witchcraft Warfare Review appeared first on Angry Metal Guy.