“Thokkian Vortex has always been a little… odd. Into the Nagual frequently sounded like standard second-wave black metal fare, with few frills and even less fuss. But then, out of nowhere, weird ambient tones would emerge, combined with chanting and strange instrumentation. While it didn’t work particularly convincingly, like great uncle Bob removing his dentures as a party trick at Thanksgiving, it had a peculiar charm.” Throne to the wolves.
“Black metal is an incredible source of emotive music disguised in unwavering aggression. The advent of sterling releases from the likes of Gaerea and Sar Isatum, among others, has only reaffirmed that for me. Factor in my implicit trust in Non Serviam’s A&R and here I sit, anxious to give Swedish black-metallers Blood of Serpents their due. From the “deep forests of Småland,” Blood of Serpents follow the same formula scribed by the likes of Marduk and Dissection. Their first album, Black Dawn, showcased mid-paced black metal constructed on a dependable foundation of solid riffs. With sophomore effort, Sulphur Sovereign, the band opted to take their foot and ram it straight through the metal. To describe Sulphur Sovereign as “full speed ahead” would be to commit severe understatement.” Is more always more?
“Our lovable cat-man Grymm described the Brits’ debut Comrades in Death as “frustratingly average,” with perhaps a tilt toward the “frustrating.” The descriptor fit the record’s unevenness snugly, as the offering straddled sublimity and snooze-inducement. Follow-up Mechanisms of Misanthropy smooths out Stahlsarg’s wrinkled edges, but seesaws into “average” territory as well.” The battle for attention.
“Though initially operating in a callous, misanthropic style, Nazghor embraced a full-blown melodic bent with 2016’s Death’s Withered Chants. This turn of events, coupled with increased attention to production standards, resulted in their strongest material to date. Infernal Aphorism is the logical next step in Nazghor’s evolution: an exploration of their newfound abilities and a test of their endurance.” Black metal marathon.
“First, a question: do you love King Diamond? If the answer is no, you’re dead to me. If the answer is yes, congratulations; my definitive opinion deems you worthy. If, however, you’ve always been enticed by the inherent fun of the King’s horror-fiction but have never been able to click with Bendix’s unique vocals, or perhaps found the music a little lacking in extremity, then… you’re dead to me. But fear not, fallible one, a saviour crests on this wan-mooned abyss of night. Zornheym, a Stockholm based predator culled from the likes of Dark Funeral, Diabolical, and Facebreaker, have collectively extended their talents into a symphonic project whose oeuvre borrows from both black and death metal.” A one way ticket to the nervous hospital.
“Sometimes an album comes along that progressively gets better listen after listen. With their debut full-length Ghostlands: Wounds from a Bleeding Earth, Swedish melodic black metallers Wormwood have constructed such an album.” Worms, wood, ghosts, what else could you need?
“Until recently, I believe Italy’s Darkend promoted the kind of symphonic black metal that chased the coattails of bands like Cradle of Filth. With their fourth release, The Canticle of Shadows, I was unsure of whether to expect more of the same or something entirely new. I succeeded in missing their earlier releases like Damned Woman and a Carcass, Assassine and Grand Guignol, despite them receiving mostly positive reviews.” What the hell is a canticle?
“Because the chances of getting another release worth a damn from Immortal are about as likely as my Writer o’ the Year award, I have no other choice but to look elsewhere for my Immortal Thirst Quencher. But where can I find that iciness that somehow defines Immortal but no one else? From whence shall I procure melodic black metal that taps into my heart and freezes my veins into blood Popsicles?” These are the kind of hard questions that get you a doctorate!
