“Listening to Enslaved, Deathspell Omega, or Immortal now makes it obvious that an evil tone and master is something you can achieve without sacrificing sound quality. A dynamic production suited for black metal can actually increase and enhance the inherent unease of the genre. Yet, there are still persevering atavists like Uburen, whose primary goal seems to be emulating the aural mutilation of Norway ca 1993.” Behold the Tree of Strife.
“I have a strange relationship with In the Woods…. Back when I was first discovering underground metal and devouring all the obscure releases I could find in the Internet’s further reaches, I remember being taken aback one night by a mysterious 1995 debut called Heart of the Ages. Both the record’s hazy cover art and the esoteric black metal contained within conveyed a haunting, archaic timelessness that, oddly enough, was so powerful it actually discouraged me from returning to the album after my initial awestruck listens. The mystique was furthered by the fact that Woods broke up in 2000 – years before I ever heard of them.” Mystique and aura aren’t just friendly girls at the local gentlemen’s club.
“After spending hours on the web searching for the band Eerie, I’ve finally found them and their self-titled debut. With a band name like that, I passed by everything from comic books to Polish black metal to unsettling porn. And, as it turns out, it was well worth the frustrating Google search. Debuting on Tee Pee Records (a much easier name to search), the label describes the band as being black metal/rock—a combo that could go many ways.” When Google goes wrong….
“I’m largely done with black metal as it was in Norway in 1993. That raw, lo-fi, stripped-back approach to black metal had its place and developed metal in so many ways but it’s definitely had its time. Bands such as Ulver, Emperor and Enslaved were already beginning to move the sound into unprecedented regions in the mid-late 90s. Now in 2016 it’s rare that I listen to that sort of no frills attached, no genre cross-over, nothing added to that furious, godless formula.” But there are always exceptions.
“Greek brutal death outfit Murder Made God didn’t exactly make a splash with their debut, Irreverence, which introduced the band with little fanfare. Enslaved isn’t out to challenge your conceptions of brutal death metal, but there’s a wealth of material on this album that shows the band growing but certainly not diversifying. With a name like Murder Made God, brutal death is what you expect, and brutal death is what you get.” Take what you get when it is given!
“With a band name like Victorian Whore Dogs, “be serious” is, most likely, not a common phrase for these UK sludge metallers. This becomes undeniable when you discover VWD song titles like “Michael Bay’s Transformers Are the Best Transformers” (from 2013’s Fetch EP) and the ridiculous song about Conan the Barbarian’s sexual endeavors (“Kromdrom,” from 2015’s Hobo Chic EP).” Who let the dogs whore?
“There really isn’t much more to be said about Ragnarok that hasn’t already been said by our beloved Noctus and Madam X (and the rest of the black metal community). Ragnarok, like Urgehal, are one of the most underrated black metal acts on the planet. Perhaps it’s due to their consistency and unwillingness to fix-what-isn’t-broken that’s kept them from reaching black metal stardom (if “stardom” is actually attainable in this genre).” Consistency is the hobgoblin of great black metal (because it requires hobgoblins).
Sulphur (or sulfur in the States) is ungodly, foul smelling shit. This isn’t exactly news to anyone but you don’t know the half of it until you have actually jousted with the likes of benzyl or ethanethiol. There aren’t many chemicals I’ve worked with that linger on your mustache and penetrate your clothes like sulfur. It’s pungent, it’s offensive, and it’s fucking nauseating. While I’ve had my fair share of encounters with sulfur, I have never encountered its black-metal equivalent—which is odd considering I’ve been a fan of Øyvind Madsen’s other project, Vulture Industries, for years. With a name like Sulphur, I had expected some unsettling, engulfing black metal to match the stomach-turning feelings I get when “sulfur” is mentioned.
“Oranssi Pazuzu narrowly missed out on Captain Ricard’s Best Black Metal Album of 2013 award (that went to Teethed Glory and Injury) with the magnificent Vaonielu. An instantly accessible yet bizarre and musically deep record, Vaonielu kept me away from my Toto loop for weeks with its sublime blend of catchy, aggressive riffs, trippy grooves, psychedelic synths, and menacing atmosphere.” Fear the wrath of Pazuzu’s schlong!
![Wildernessking – Mystical Future [Vinyl Review]](https://www.angrymetalguy.com/wp-content/uploads/2016/01/Wildernessking-Mystical-Future-768x768.jpg)
South Africa’s Wildernessking is an atmospheric black metal band that has undergone a maturation before our very eyes. Starting as Heathens the band played an immediate (and still excellent) form of black n’ roll. The early material was reminiscent of Enslaved, but lacked the Norwegians’ progressive punch. The writing was concise and to the point, and the word “atmospheric” would never have crossed my keyboard in those days—until the release of the track “Morning” in 2011. In 2012, under the new moniker Wildernessking, these South African ex-heathens released The Writing of Gods in the Sand, which unfurled their sound into expansive, atmospheric territory. The record had a production that helped the band’s music to balance between a raw, heavy black metal feel and their growing interest for more airy writing. Mystical Future progresses Wildernessking’s journey, taking steps further away from the intensity and riff-driven black metal, toward a more expansive, atmospheric sound.
