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Posts Tagged ‘Beatrik’

For no particular reason other than a few serendipitous songs popping up when I was playing my music on random the other day, I thought I might do a little bit of a country profile here.  Well, scratch that.  I’m not particularly interested in surveying all of Italy, scouring its lacquered boot from thigh to heel for all the heavy metal fit to print.  Instead, I present for your edification and/or casual annoyance a few of my favorite metal albums from the center of history’s most whined-about empire.

The land of Berlusconi is, if the records I’ve chosen to highlight here are any indication, far more than the libidinous Mediterranean caricature and reckless administrative policy would suggest.  By no purposeful design, just about all of these albums tend toward the black-ish side of heavy metal’s family tree.  Perhaps most notably, then, given the genre similarities, is that for the most part, these acts don’t seem to all be coming from one centralized black metal scene* (the way we imagine things do in France, Finland, Mozambique, or wherever).  Chalk it up to the proximity of Vatican City, perhaps, or a lingering fondness for the somewhat corpulent severity of Il Duce.  Who knows.  Something is rotten in the state of Italy, a confused Hamlet might emote (well, not Hamlet himself, of course, but, just fuck along and let me have my wordplay, you ass).
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Spite Extreme Wing, Vltra (2008)

This black metal band first intrigued me with their previous full-length, Non Dvcor, Dvco, but it’s on this, their most recent and, sadly, last album,  that they really shine.  A great dry production lends excellent clarity to the generally straight-ahead black metal within, which is given just enough touches of the avant-garde to keep the listener on her toes.  The tracks are all untitled, though the band slips in both a Misfits and a Beatles cover, which blend in rather better than one might suppose.  Special credit should also be given to that gorgeously evocative cover art.  No need to be tethered to the ol’ black and gray tones forever, black metal chums.
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Stormlord, Mare Nostrum (2008)

This album kicks so many tremendous servings of ass that it really ought to be illegal.  I suppose the best way to describe Stormlord is ‘blackened power metal’, but lest that dreadful word-mash make one think of Children of Bodom or whatever fucking black metal Dragonforce churned out before they were Dragonforce, have no fear.  This is purely epic, regal metal that deserves a far greater audience.
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Void Of Silence, Human Antithesis (2004)

Void of Silence is a somewhat clean-sounding doom/death act from Italy, through which has rotated a number of excellent vocalists.  2004’s Human Antithesis has the distinction of featuring the unparalleled vocal talents of Alan Averill of Primordial fame.  Just earlier this year, the band released a brand new album which is also quite tasty, featuring the vocals of Brooke from The Axis Of Perdition.  His vocals on that new album are something of a revelation, given the bile-flecked delivery of pure caustic rage typical of TAOP; with Void Of Silence he sounds like someone who has just realized he can belt out true epic doom vocals, and wants to wring every last possible speck of emotion from each phrase.  Human Antithesis is probably still the better record, with sounder songwriting and the more stridently confident vocals of Nemtheanga.  Honestly, it’s worth the price of entry just for the title track along, a gargantuan 20 minute journey to the deep, dark recesses of doom, like the crumbling edifices of history so oft-represented in the band’s artwork.
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Absentia Lunae, In Vmbrarvm Imperii Gloria (2006)

Absentia Lunae is probably my favorite band of the ATMF stable, which also includes Melencolia Estatica, Locus Mortis, Urna, Arcana Coelestia, and others.  To be honest, most of those bands share a similar aesthetic and sound, so if you like one of them, chances are you’ll enjoy most (if not all) of the rest; still, Absentia Lunae’s first album ekes out a triumph in my book, for its rather stately take on this much-abused genre.  It has that rather depressive air, without ever veering anywhere near to the abominable pit of mawkishness and repetition known as ‘depressive’ or ‘suicidal black metal’.  Blech.  Go listen to Dio, you fucking mopes.
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Hiems, Worship Or Die (2009)

Side project of dude from Forgotten Tomb, which project, frankly, I couldn’t give two shits about.  I really dug Hiems’ first record Cold Void Journey, but it was really just a perfection of a particular crisp, blasting version of black metal, whereas its follow-up adds a bit of black and roll spite and a touch more experimentalism, to quite headbangingly catchy effect.
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Beatrik, Requiem Of December (2005)


I know, I know.  I’ve just been yelling at you about this album recently.  Thing is, Beatrik’s swansong of an album is so utterly gripping that I feel like it needs to be shared.  Seriously, why aren’t you listening to this album RIGHT NOW?
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HomSelvareg, HomSelvareg (2005)


This band is also broken up now, which is a shame, really.  Their self-titled album (which, in its re-release – pictured above – also features bonus tracks from an earlier demo) is absolutely nothing new in the realm of black metal blasting, but it just feels so right.  The 1990s had the paradigmatic Grieghallen production, with its lofty reverb and wispy clarity; HomSelvareg’s album – rather like Hiems’ Cold Void Journey – has an entirely different way of doing things, and it just touches me in all the right places.  Gross.
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Thee Maldoror Kollective, A Clockwork Highway (2004)


This lot are a bunch of fucking weirdos, that’s for sure.  While the previous album from the Kollective, New Era Viral Order, will probably speak a bit more clearly to one’s blackened inclinations, I prefer A Clockwork Highway, on which the ambient, industrial, soundtrack elements become the actual building blocks of the songs, rather than superficial drapings atop fuzzily elastic-sounding ‘industrial metal’ riffing, as was too much the case on the previous album.  Alongside the strangeness of latter Manes and (maybe) Ulver, this TMK album is a great mood piece, albeit one that will never quite let you fully relegate it to mere background.
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Aborym, Fire Walk With Us! (2001)

Aborym have also just put out a new album – Psychogrotesque, out now on Season Of Mist – but for my money, this remains their best moment.  Fire Walk With Us! is genuinely unsettling music that ripples with a current of untamed electricity.  Yeah, it’s black/industrial, so if that’s not really your thing, I understand the hesitation to fully engage with this.  But, c’mon, it’s got Attila Csihar (of Tormentor, Mayhem, etc., etc.) on vocals, and the album closes out with the great tandem shot of a woozy cover of Burzum’s “Det Som Engang Var” and a seriously disorienting ambient/noise track in “Theta Paranoia.”  This record won’t just raise the hair on your arms; it will turn your arms into robot appendages, which will corrode and rust before your eyes while your gaze is transfixed by album cover’s red moon rising over a technological apocalypse.  Give it a chance – let this album get under your skin.
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This is, of course, ignoring your Bulldozers and your Ephel Duaths and your Abgotts and your, erm, Rhapsodies of Fire.  Exhaustiveness is not the point.  However, finding something new (note that every one of these releases comes from the past decade) from one of Europe’s less prominent extreme metal breeding grounds, well, it’s like picking out a choice figure out of the pandemonium (should that be panangelium?) of the Sistine Chapel.  (This preceding sentence brought to you by the familiar trope in music criticism that Michelangelo’s paintings are an easy analogue to a few dozen angsty young musicians bashing out hymns to the devil.)  Salute!
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*Though such congregations do crop up here and there – see the grouping of artists around the ATMF label/ethos for a prime example of that in action, or, more loosely, the always-intriguing Code666 label.  Always curious to know if a few bands develop, followed by a sympathetic label, or if it goes the other way around.  Case studies abound, assuredly.

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In praise of some of this year’s releases that have featured prominently around Spinal Tapdance HQ lately, and in avoidance of some of the actual work I ought to be doing, I present a quick rundown of, as the title says, some of the new(ish) shit I’ve been spinning.

Beware the mad monk

Slough Feg, The Animal Spirits – Officially out today [ed.: Tuesday], I believe (along with enough other new metal releases to choke a horse, or at least force it into an equestrian approximation of headbanging), this is a nonstop grin-fest of everything wonderful and energetic about classic heavy metal.  Mike Scalzi’s vocals are as potent as ever, and the songs are both carefully honed and gloriously meandering.  Put it in yr ears and smile, smile, smile.

Color-by-numbers skeleton

Intronaut, Valley Of Smoke – For whatever reason, I’ve missed all the previous releases from this band.  This new album, though, really shook me by the shoulders and slapped me around a bit.  Excellent songwriting, beautiful textures, great clear bass lines and tasteful jazz-inflected drumming have kept this spinning over and over around here.  The instrumental title track may be the best thing here, though that’s not to downplay the judicious use of both harsh and clean harmonized vocals throughout.  Definitely recommended.

Climb it

Horseback, The Invisible Mountain – Tough to describe, but equally tough to ignore once it has sunk its claws in your flesh, this hypnotic album is something like an Americana act discovering krautrock and throwing in the menacing undertones of black metal.  Oh, plus the entire second side is a lilting ambient piece, the trip down the other side of the mountain after the first side’s arduous ascent.  A curious piece of work, but kudos to Relapse for picking this up for wider distribution.

It's good to remember how much you missed them

Autopsy, The Tomb Within – Brilliantly atavistic, mud-sodden death metal for murdering zombies.  It’s only five tunes, but all the death and doom you could hope for is alive and (un)well.  Welcome back, you perverts.

Brilliant artwork

Cough, Ritual Abuse – I haven’t got my grubby hands on the new Electric Wizard yet, but this new Stateside entry in the grand tradition of nihilistic sludge metal goes down just fine, all ragged edges and shaking hands.  Also playing of late has been Cough’s tremendous split with The Wounded Kings (reviewed at this very site by yours truly last week), out in November.  I’m pretty sure both sides of the split are streaming somewhere out there in computer-land, so get yourself to Google and soak in the doom.

Like 'Walden', but heavy metal

Celestiial, Where Life Springs Eternal – One of the most atmospheric albums I’ve heard this year.  Exceedingly nature-touched, overdriven-to-the-point-of-ambient ‘funeral doom’, though that genre description is hopelessly inadequate to describe the equally soothing and crushing sounds at work within.  Reminds one of neo-folk, without actually forcing one to listen to neo-folk.

It's a dead polar bear. Weep for this world.

Antony & The Johnsons, Swanlights – Antony Hegarty simply will not rest until he has made each and every one of us weep bittersweet tears.  This is fragile, strong, desperate, haunting music.  His duet with Björk is especially stunning, but the variety of songwriting styles on display throughout the album is most impressive.

Move your body

Gilles Peterson, Gilles Peterson Presents Havana Cultura: Remixed – Last year’s original issue of the Havana Cultura recordings were already excellent enough, but here Gilles has enlisted the help of some top-notch remixers and reinterpreters to put a more club-friendly (without the horrific connotations that phrase can entail) spin on this broad pool of Cuban musics past and present.  Funky, soulful, and always a lot of fun.  It can’t all be heavy metal all the time, friends.  Gilles is there for you in your time of need.

Exhaustive, though not exhausting

Bob Dylan, The Witmark Demos: 1962-1964 – A massive two-disc set of early demos of future Dylan classics, plus something like fifteen previously unheard songs.  This is a treasure chest to be explored, and in which to lose yourself.  The man is clearly not a ‘record once and move on’ kind of studio musician, as the strikingly alternate versions of some of these tunes illustrates.  Perhaps the most jarring alternate on here is the demo version of “The Times They Are A-Changin’,” which is slowed way down, and led by piano only.

Hallucinatory shoegaze metal

Sailors With Wax Wings, Sailors With Wax Wings – Debut album from this side project of R. Loren from Texan weirdos Pyramids.  Features a shit-ton of guest vocalists and musicians, but succeeds largely because it doesn’t seem bogged down by that fact.  The album still presents itself as a coherent aesthetic whole, featuring a gorgeous variety of textures and moods.  Best heard as a piece, straight through, with mind set a-wandering.

Mind-bogglingly fantastic, dastardly metal art

Akercocke, Words That Go Unspoken, Deeds That Go Undone – Okay, so this is clearly not a new album.  In fact, it’s from way back in the Stone Ages of 2005.  But SONOFABITCH this album is so good.  You should play it all the time.  Each and every day.  Also, if the gentlemen of Akercocke would see fit to give us another album one of these days, why, that would be just swell.

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Random bit of old news that I’m still bumming hard about:

Soooooo good

Beatrik went and broke themselves up a while back.  Dude also broke up his more straight-ahead black metal act Tenebrae In Perpetuum, which is also too bad, but man, Beatrik was where it was at.  If you haven’t listened to Beatrik’s second album Requiem Of December yet, well my goodness, you just really ought to do so.  All the best bits of depressive black metal, proper black/doom (like Nortt, see), and the great organ textures of Skepticism, topped off with fabulously excruciating vocals…  A really tasty treat, is what I’m trying to say to you.

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So, what’s been keeping you lot auditorially-occupied of late?  Don’t be shy.

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