ULVER “Bergtatt: Et Eeventyr i 5 Capitler” (Head Not Found)

In their virgin discographic appearance, the Norwegian ARTISTS chose to play the role of story-tellers. This hid no unerringness, at all. The tide of a vast underground scene had already swept the spirit of that epoch. 1995. Ulver, though, have proved they were never decadent in aesthetics. Some seriously darkness floodlit compositions were about to show. With the opening track, “Troldskog Faren Vild”, the band points at our embracery. The woeful riff escorts Garm’s mournful song and vice versa. Garm (aka Trickster G.) excites! His dreamy vocal lines turn into horrible disesthesia and again are colored with geniality tone until the very end of the record. As both curse and detersion, he defines our mood with unequalled vocal expressiveness. The uneven musical lapses from acoustic melodies to grim nightmares betray a band with a great vision. The zenith of “Bergtatt” is its instrumental frosty melodies accompanied by Sverd’s dartled piano parts. Bleak music. Bleak and cold. Of course, this record has nothing to do with their most recent excretions but here’s a chance to find out the beginner anxieties of these really important ARTISTS. Simply a musical monument.

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SLOUGH FEG "Animal Spirits" (Profound Lore)

Mike Scalzi and co. have progressed their sound with new tactics that honour both their musical past and influences. The influences embodied in their music are not illuminant, though. It’s pretty hard to discern the exact pieces that form the Slough Feg’s compositions. To be honest, “Animal Spirits” has little to do with the previous albums of the band. Not at the same quality point of “Down Among the Deadmen” or my favorite “Traveller”, it still pleases the audience with its uniqueness. Besides, (The Lord Weird) Slough Feg have served heavy metal music in wise ways for so long. The tunes of “Animal Spirits” are sonorous and still carry this band’s heavy heritage. Some times melodic, other times epic, Slough Feg’s musical vision is led by incessant riffology and rhythms that often hide a folk vibe. The songs in this record float in sheer uniformity and thunderous mood. Once more, the band’s spine is the talent of Mike Scalzi who writes short, uplifitng hymns with nerved easiness. Each one of Feg’s records is suggested for a heavy metal succusion and “Animal Spirits” comes to praise once more the name of this great band.

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FLOTSAM AND JETSAM "The Cold" (Driven Music Group)

Except their “Doomsday for the Deceiver” debut full-length and the “No Place for Disgrace” album, I must admit I’m not that well associated with the rest of this band’s discography. But any news for a Flotsam and Jetsam album is good news, I guess. Having already read some really good reviews for their new excretion I couldn’t but listen to this, at last. Well, “The Cold” is possible to be proposed as the top release of the year (since in Europe it was released later than its initial date). I know that it’s too early to claim something like this but these guys obviously live a second youth. The introducing, grievous tune of “Hypocrite” cheats the audience on what’s about to follow. Gigantic, swirling mid-tempo compositions victimize the listener from the beginning to the end. Some really interesting and unveiled leads spit the twitching melody needed in order to fill you with audient poison. As if Titans battle! Music that’s just HEAVY AS FUCK! Moreover, the penitent ink of Erik Knutson delivers him of his personal demons. His performance is ecstatic, even cathartic. I may sound as arrogant but I haven’t heard such a vocal performance since Queensrÿche’s gem, “Operation: Mindcrime”. All these, of course, dressed with a modern, heavy production consist with a top metal release. I’m sure there’ll be consonance among the fans who don’t impact to the band’s evolution. Mark Simpson fucking rules! It’s a shame he’s abandoned Flots at this stage of their carreer.

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ARCTURUS "La Masquerade Infernale" (Misanthropy)

This is probably the best record I’ve ever listened to so I can’t be that much objective concerning its content. In the year 1997, Arcturustravelled beyond the stars and completed an album that common human imagination still struggles to handle with. Let’s begin with the band’s line-up at that time. Garm (Ulver, Borknagar, Head Control System) on vocals, samples and loops. Knut Magne Valle (Ulver) on guitars. Hugh Steven James Mingay (aka Skoll / Ved Buens Ended, Ulver, Fimbulwinter) on bass. Jan Axel von Blomberg (aka Hellhammer / Mayhem, Covenant, Winds etc.) on drums and of course, Steinar “Sverd” Johnsen (Covenant, Satyricon, Emperor, Ulver) on synths and grand piano. This company is also assisted by the united forces of Simen Hestnaes, Carl August Tidemann, Idun Felberg, Erik Olivier Lancelot and a philharmonics quartet. If these names and the projects they’ve associated with still haven’t persuaded you about the record’s quality, then you are seriously sick. Anyway, the rewind button of your CD player will show you some extra seconds of abstract music before the opening track, “Master of Disguise”. Dressed with poetic mood, the record starts with the flickering voice of Garm above-and-below the strings and magic is about to be revealed within few seconds. Sverd has created a blacker than black atmosphere in which Garm (co-assisted by Hestnaes) spits in eulogic delirium his poetic lyrics. “Ad Astra” is simply one of the best compositions of all time. Created in the normas of classical arrangements, its evolvement is shocking and at the same time revealing. The first traces of melancholy appear for the first time in this track. In “The Chaos Path”, Simen Hestnaes takes the sceptres from Garm and gives the performance of his life in this twisted, haunted song, as a fallen angel or demon. The homonym track of the album is a simple intermission which gives space for “Alone” to abound. Edgar Allan Poe’s poem is turned into a horrific melody wherein misery and woe prevail. Garm’s voice is once again frightening. I could fill a hell of a blank space for this album. Yet I have to stop the track-by-track analysis to this point. To be honest, I’d like to see the faces of those who will listen to this for the first time. Logic tells us that they should expect a common black metal record and “La Masquerade Infernale” comes to prove them so damn wrong. To my ears, however, it’s more into black metal than any other record. For its atmosphere is creepy and irresistible. Besides the extraordinary performances of each member and guest, Sverd takes all the credits for he has conceived this record’s mystagogy. Plus, he is its main composer. Hands down! Buy it this instant. For aeons they descended down ’till they saw the dreadful truths of which man wouldn’t know…

Typically: ∞/10

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MERCILESS "The Awakening" (Deathlike Silence)

This is the first release of Euronymous’ Deathlike Silence Productions label. Let’s mention some words off of this record’s song titles; hate, dead, dreadful, dark, dying, death, denied. It might be easy now to realise that these guys are not that cheerful. In fact, the title of the opening track explains it all: PURE HATE! Pure hate demolishing all. Those were times when artists didn’t account for their firing fury that much. “The Awakening” is not that accesible. Everything is immolated for the achievement of their sacred aim. We told you before; pure-fucking-hate. The band shows forth its unholy hymns using the thrash metal tactics below the black metal prism. The result is a menacing record, constantly attacking. “The Awakening” contains eight songs of unrelenting fury. To parallel it with, I’d mention old Destruction and old Aura Noir. It is raw and possessed by demonized performances. Rogga (Gehennah, Satureye, Hellfire) spits blasphemies lke a maniac beast. Riffs like the one of “Bestial Death” remind me of mighty Possessed. This songs could be part of the “Seven Churches” album of the latter, in fact. Anti-amiability, hatred and revenge are senses that occur after this record’s listening. So it’s totally up to you if you want to try this one. Attention! The demo versions of some of these songs are even more freakish. Excellent! “There is no god, just pain and starvation…”

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DAWNBRINGER "Nucleus" (Profound Lore)

Dawnbringer are Chris Black’s spiritual child, for sure. Who is Chris Black anyway? He’s been a session drummer inNachtmystium and he is also drummer of Pharaoh (with Tim Aymar on vocals). In Dawnbringer, Chris Black writes the music, the lyrics, he sings, he plays drums and the bass also. “Nucleus” is fully into heavy metal music and its audience can bring tears in the eyes of fans. The introducing “So Much for Sleep” starts with a top Maiden-like riff and evolves into a heavy metal cyclone. “You Know Me” keeps up on up-tempo touch and prepares the ground for the glory of “The Devil” – the fury of which gives space for some blast themes. When “Swing Hard” took place, I began thinking once again the grand riffs off of Iron Maiden’s “Powerslave” album. Built with alike elements of powerfulness, “Nucleus” manages to impress with its directness. Some acoustic lapses and thrillings rhythms -like the one in “Cataract”- fortify the senses. The great guitar work must be mentioned also. In fact, the guitars are so well germed in Dawnbringer’s music that they seem to be the leading instrument in their musical orgy. Moreover, this record is attired with a bad-ass production which will travel you back in the 80s. Surely, “Nucleus” has been one of the best releases of the previous year.

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THE GUESS WHO "Wheatfield Soul" (RCA)

Well, there are obviously many albums to choose through the rich discography of this very important band as favorite ones. This Canadian act has released some really beautiful albums in the long past. “Canned Wheat”, “American Woman”, even their debut album, “Shakin’ All Over” (which contains the BEST cover of the classic, homonym Johnny Kidd & the Pirates track) are some among them. Personally, I believe that “Wheatfield Soul” has more to do with my likes. This record actually fully demonstrates the band’s talent in both composition and performance. Each and every song could be a hit single. Their boozed pop/rock musical style aggregates the substance of a whole genre and acts on behalf of its top moments. Their songs are catchy as hell and that’s the great achievement, in fact. They stick in your brain as if you ever knew those tracks. Besides this, though, this record is so damn important for it it includes the “Friends of Mine” track. A Doors-like opus the groove of which is sensational. Dressed with the best elements of psychedelic rock and some eruptive improvisation, this track is the perfect musical background over which Burton Cummings feels free to unfold his tremendous vocal abilities. And yes, Burton Cummings is among the greatest vocalists of all time. Simply a gem. Buy it.

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MAUDLIN OF THE WELL "Leaving Your Body Map" (Dark Symphonies)

The wind whistles the Autumn song. Down the mountain stones of October sobbing slide in low acceleration. At times, the Earth pulse becomes vivid, expressed through disaster verdant melodies and twisted guitar scratchings. The place is melancholic, yet peaceful. Stones gleam in ranks. The mood turns anxious. We all are heir apparents of the season’s change. This change of seasons is final. In this scenery - bizarre flowers, a violent mist and impetuous beauty win our interest. Still hearing the song of October. We’re in love with this moment. Awake and live this, too. Don’t you dare fall asleep for sleep is a curse. Tread down the greyest of grounds, sense the soaring dust, move towards the vast sky. And the Sun! Riseth He, the numberless, in awe and admiration. The stones still slide, falling into the fervent sea, blown off by its monstrously low tide. We are martyrs of this suffering. Those are divine powers that recompence the planet.Maudlin of the Well compose the soundtrack of this recompense. A battle of angels and demons. Empty soundscapes, unending, draw swords in the ethers. Folk props dress the torturing doom metal musical background. The orphaned tunes of a wretched violin color the hypothetic shattering. All in warm embrace, stripped of fear now. The band’s headed in healing trips, leaving our body map. Their highminded brain created some alternative versions of glorious music.

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DEMILICH "Nespithe" (Necropolis)

If I’d choose to mention this album’s tracklist, I’d probably fill the empty space due to its prolonged song titles. Besides this, though,Demilich’s only full-length album had ever more to provide than its intriguing song titles. Some may say this is pure death metal. In fact, a guess like this one wouldn’t be that wrong. Fully entwined with the basic orders of death metal, Demilich constructed a bunch of creepy songs. The tempo changes, the shifting riffs, the indefatigable drum performance, all inculcate the audience of fucking DEATH METAL! Fuck all the modern scene. This is the real shit. “Nespithe” is a stressful record with cycloidal compositions, groovy parts and a really doomy feeling. The vocal lines of Antti Bonman remind me of Goat’s (Von) glorious and abyssic performance. As if a real demon sings! And the band’s origin is from fucking Finland. Apart from (old) Amorphis, Demigod and (more recent) Rotten Sound this country exports only shit (in my opinion). I don’t even like Impaled Nazarene or the so called black metal masters of the underground, Archgoat. Fucking pathetic. Anyway, this record was released back in 1993 and it’s really worth of listening for it is really stamped as a classic death metal album. And that’s a perfect opportunity for younger fans to associate with real musical terror.

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IRE "I Discern an Overtone of Tragedy in Your Voice" (The Mountain Collective for Independent Artists, Ltd.)

The secret success of Ire’s music is that they let their compositions breathe alive. This, of course, is achieved due to both the band’s performance and the record’s production. That’s why their tunes sound so threatening and gigantic. “I Discern an Overtone of Tragedy in Your Voice” is an EP release, chronicled back in 1998. It’s not that easy to place Ire’s music under certain labels since they have obvious influences the mixing of which builds an interesting musical hybrid. The rhythm sonar mostly indicates down-tempo and mid-tempo compositions. However, they can’t be described as a doom metal act. They sound more of a technical hardcore band like the unforgettable Catharsis. Plus, the ripped vocal lines of the band (so very sick) bring in mind the tactics of Stephen Bessac from mighty Kickback. In “Sympathy Trial” you can even listen to short black metal parts which are truly shocking. Moreover, the bass performance is tremendous and sounds so very huge. The guitars spit out disharmonic improvisations over their thick, austere play. For sure, this EP is heavy as fuck. It is also legendary in the hearts of fans since strange feelings occur in its content. Its humble power scents of obnoxious insticts. The fact that Ire chose to release this EP is of big importance since its time-length fails to pare down your enthusiasm, actually making you ask for even some more. Try this at any cost.

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