“The niche within a niche label I, Voidhanger often scrapes the fringes of underground styles for acts embracing the weird, the strange, the vaguely musical—curious but rarely captivating for me. Par for the course, I’d never heard of Denmark’s Tongues before snagging up Formløse Stjerner, but something about the tumultuous landscape of the nihilistically nautical cover called to me like a Danish white whale, a hvidhval, if you will. Feel the Willies!
“The choice of Käthe Kollwitz’s famous Aufruhr (Uprising) as the cover art for the fourth album by Germany’s Porta Nigra is telling in that … hang on, I’m almost sure that … *cue much lip nibbling and skrunkling of eyebrows as I crank my addled memory into second gear*… Panzerfaust!!! You wouldn’t think it would take me quite as long as it did to place the cover art from my 2020 album of the year, the outstanding The Suns of Perdition – Chapter II: Render unto Eden. 2020 was, coincidentally, also the last time we heard from Koblenz’s Porta Nigra, when they dropped the very good Schöpfungswut.” Faust friends.
April’s Record(s) o’ the Month are here right on time, as usual! This month will be particularly contentious, so that oughtta be fun.
“They say you can never have too much of a good thing. But they’re wrong. Everything eventually becomes stale. As the age-old complaint/joke about technical death metal highlights, there is definitely such thing as too technical and complex. While it differs from person to person, everyone has a threshold beyond which music stops being enjoyable due to its dissonance, technicality, and complexity. With this preamble, I introduce New York progressive technical death metal group SARMAT, whose debut Determined to Strike is likely to approach if not leap beyond the threshold of many listeners.” Prog Depot.
“Even if it’s not so prevalent now, part of black metal’s original aims was to shock, subvert, and make uncomfortable. Metal fans and horror aficionados alike, among others, are privy to the thrills of art that disquiets, and sends a shiver up the spine. Teitan—the solo project of Dutch multi-instrumentalist Devi Hisgen of Marquis and Cthuluminati—seems to attempt exactly this.” Fear as fun.
“If you were to ask me how to do avant-garde black metal, I would point straight away to Dødsheimgard. The trajectory of their sound from raw second-wave fury to electronic, industrial, jazzy, experimental black has been nothing short of thrilling to witness. 2015’s A Umbra Omega—my personal entry point—set a new standard in the avant-garde metal scene, demonstrating the weird, wonderful depths DHG could conjure, fully realized.” Odd fellows unrest.
“Latin—language of ancient history’s classiest empire, known only by nerds with and without PhDs, and vernacular of choice for many a metal act. Somnium Nocte Mendaciis (Night’s Dreams of Lies) continues Ophe’s foray into the world of incomprehensible titles, and nearly as incomprehensible music. In the time since 2018’s Litteras Ad Tristia Maestrum Solitude, sole member Bargnatt XIX has only doubled-down on the weird. Now forgoing clean vocals entirely, as well as almost all things approaching a melody, the album is the exact opposite of easy listening.” Dead tongues and harsh language.
“Mixing styles ranging from black metal and doom, through post-metal and into trip-hop and noise, one certainly can’t deny Kreationist’s experimental bent. As the record’s heavier sections move between something approaching pummelling second wave black metal and a more symphonic, Cradle of Filth-like sound.” Coma of sounds.
“Thanks to that one boozy pirate-themed power metal band whose name rhymes with “Sail Dorm,” it’s difficult to take oceanic themed albums seriously. There are plenty of bands that have torn it up, Ahab showcasing mammoth waves with their breed of crushing funeral doom, Isis displaying the uncaring expanse with shoegaze-y post-metal, and Firtan and Déluge offering some respective symphonic black and post-black to reflect he majesty of the oceans. Scrolling through my black metal collection and each album’s respective themes goes something like this: winter, winter, occult, winter, occult, occult, evil, winter, etc. Oceanic-themed black metal is few and far between, and you’d be hard-pressed to find the good stuff. Will Thermohaline kickstart a new trend or will it end up drowning in its own ambition?” The sea was angry that day, my fiends.
![Mamaleek – Come & See [Things You Might Have Missed 2020]](https://www.angrymetalguy.com/wp-content/uploads/2020/12/Mamaleek-Come-See.jpg)
“Mamaleek’s experimental fluidity has been bubbling beneath the surface since 2008. Not a lot is known about the two brothers who have channeled many genres through the Mamaleek moniker. Come & See is their seventh full-length and another chapter in their difficult-to-place story. If you asked me about this record a few months ago I would have huffed, puffed and dismissed it as a work of directionless cross-genre experimentation. After revisiting the record last month, however, I was struck by how coherent and engrossing it was as a whole.” Experiments in sound.
