“On initial listen, I can tell you that Den Tapte Krigen is no Vi Overlevde. Let that sink in as you consider the consequences of that statement. Is that good or bad? For one, Den Tapte Krigen is a tighter album (only eight tracks) with a formalized theme. There’s fluidity from the beginning to the end of this journey. What about those surprise transitions and standout songs, you ask?” Rejoin the Kult.
“Khold combines Carpathian Forest-esque black ‘n’ roll, Satyricon accessibility, and Darkthrone-like sinisterness that molded Grier‘s tiny heart into a lump of coal for nearly a decade. Then, 2014 saw the end of the band. During this time, the crew resurrected their thrashy black metal counterpart, Tulus. Which felt like a somewhat natural progression following Khold’s odd 2014 swansong, Til ended. Also, the band’s founder/drummer found success with Darkthrone’s Nocturno Culto, releasing album after Sarke album. Fast forward to 2022, and the boys are back.” Ice Khold.
“While many a reviewer despises grabbing black metal promos stuck in the ’90s, I love it. For nothing else, it gives me an itch for my favorites. Sometimes I won’t even finish the new promo before I abandon it for the road down memory lane. I always start with Darkthrone—sometimes Transylvanian Hunger, other times it’s Hate Them. Then it’s Mayhem’s De Mysterii Dom Sathanas and Wolf’s Lair Abyss. From there, it’s Gorgoroth, Immortal, Funeral Mist, and Horna. Before I know it, the review is past due and the album is already on the shelves.” Lateness and decadence.
“Five years ago, Grier became more than a twinkle in AngryMetalGuy.com’s eye. Forever after, AMG was subject to the King of Clickbait. And, since then, you poor bastards have had to read the sometimes depressing, sometimes passionate, sometimes right and sometimes wrong moments of my career. In these early days of the Coming of Grier, there arose such an album that it still finds regular rotation for this ole Dok Tor. First, for its content—old-school, Scandinavian black metal. Second, for resurrecting a master of the black metal arts—Aldrahn. I loved The Deathtrip’s Deep Drone Master and still love it today. Not for its originality but, rather, for its commitment and flawless execution of ’90s Norwegian black metal. It wasn’t until I heard it that I realized how much I missed Aldrahn’s voice. But, Aldrahn has vanished once again. In his place stands Kvohst (ex-Code, ex-Void, and ex-Dødheimsgard).” Musical chairs and deathtrips.
Doctors in Da House! Next Dr. A.N. Grier presents his Top Ten of 2018. It’s been meticulously researched, so now it needs peer review. Give it!
“Today’s Horna-meets-Gorgoroth-meets-The Deathtrip second-wave sound is courtesy of Finland’s Rodent Epoch. Admittedly, when I first read the band name and saw the album title, I couldn’t help but think of that villain from the original Teenage Mutant Ninja Turtles cartoons. Which made me question Rodent Epoch’s debut full-length, Rodentlord: is it a cartoon or is it for real? Let’s see what this Rat King thing is all about.” Vermin, vermout.
“If you’re into the Norwegian black metal scene, you may know bassist/guitarist/songwriter Teloch. For those that don’t know, he’s the man behind Nidingr and responsible for guitars and songwriting on Mayhem’s Esoteric Warfare. If you do know the man, you already knew that and also know he’s a member of the once mysterious—but now not-so-mysterious—black/thrash outfit The Konsortium, where he writes and plays bass alongside the legendary black metal drummer Dirge Rep, and, together, they rip, shred, and tear shit apart.” At the Roga, Roga Cabana.
“Without a doubt, the darkest moments of my life have involved vocalist Aldrahn. At first, it was an unfortunate coincidence. But then his voice and his music became my go-to during those dark days and nights. Be it his groundbreaking introduction with Zyklon B and Old Man’s Child, his psychotic direction with DHG, or his genre-setting contributions to Thorns. This one man has haunted my dreams (and nightmares) for close to two decades. I’ve considered suicide as his voice rang out on my speakers and I even attempted it while listening to Thorns. Then, no more music. But, three years ago, Aldrahn came back to us with The Deathtrip’s Deep Drone Master. While Deep Drone Master was fun, Urarv’s Aurum is something else.” The voice of pain returns.
“With a name like Tombstoned, you can probably gather that these boys love the sweet leaf and the doomy, sludgy sweet life of the ’70s. Warping back to a time once ruled by Black Sabbath and shared by Hawkwind, Tombstoned lather up in the buzzy, dynamic, heaviness of the former, while incorporating the psychedelics of the latter.” The rolling stoned gather no moss.
“Ever since I picked up my first copy of Darkthrone’s Transylvanian Hunger, I’ve been in love with old-school black metal (even though it wasn’t “old school” back then). I’m not sure if it’s the satanic themes, the atmospheric tapestry of nonstop trebly guitars, the vicious/desperate vox, or my craving for the frozen, isolated terrain that personifies the genre so well (“cold” isn’t a word used in the southwestern United States).” It’s old, but is it still bold?
