“The only thing I knew going into Ars Moriendi was that this black metal outfit is from France. which means they’re probably weird as shit. But, being the fan I am of Spektr, Reverence, and Blut aus Nord, I wasn’t too worried. So, not expecting anything novel, I put in my buds and fired up Sepelitur Alleluia. And, oh lordy, I was taken by surprise. It turns out there is more to Ars Moriendi than meets the eye (or ear).” French black metal is weird, and their wine is okay too.
“The “issue” of incongruous genres poisoning the perceived pristine purity of metal has been written about and discussed to death. Especially when French “blackgaze” duo Alcest is concerned, it becomes irrelevant whether the odium is a case of snobbery and elitism or a sense of threat against internalized traditions and tropes. Because you see, their music possesses an undeniable artistic value regardless of context.” Fancy words for pretty music.
“Just in case there was any ambiguity following the above band name and album title, yes: Aum are kvlt as fvck. Social media is unworthy of their presence. The supplied photo does that stupid intentional enigma thing. I cannot locate any information about the band besides their French nationality. Their exploration of Buddhism through the medium of blackened death metal seems confused.” Putting the K in kvlt.
“The always well-attended Summer Slaughter tour came to Chicago one cloudy Wednesday night, with a packed lineup of death metal giants. Nile, Suffocation, Revocation, and headliners Cannibal Corpse played to a packed and pickled pit until the wee hours of the morning, and few prevailed without injury. Truly, it was a night to be remembered. At least, I assume that happened. I elected to skip the megatour (and probably the best pit Chicago will see all year) and head just a few miles further up Milwaukee avenue to see the most Kronos-approved bill that will ever come to be; the tour to end all tours. Plebeain Grandstand. Pyrrhon. The trvest of the trve had gathered.” The night Chicago was trve.
“Dear mother: my battle for acceptance in the brutal world of AMG Amalgamated Blogworks, Ltd. goes on. I’ve survived the gauntlet of milquetoast prog submissions and am a better man for it. There is no respite for the “New Guy,” however: this week my inbox greeted me with a fist to the face in the form of a French power metal album and I fear I may not survive this next phase. Power metal and France typically do not go hand in hand.” The struggle goes on and on.
“What’s this – a new Monolithe already? Didn’t I write a review just 6 months ago? It is indeed so. Zeta Reticuli is advertised as the second part to 2015’s Epsilon Aurigae, and it’s a similarly expansive ode to the cosmos, conveyed through densely atmospheric doom metal replete with a plethora of spacey synths.” There is no Sun O in deep space )))))).
![Blut Aus Nord/AEvangelist – Codex Obscura Nomina [split] Review](https://www.angrymetalguy.com/wp-content/uploads/2016/06/cover-RGB-768x768.jpg)
“Ever since the release of 2003’s The Work Which Transforms God, French black metal pioneers Blut Aus Nord took the constrictions of the standard black metal envelope, stretched them out to ridiculous lengths and dimensions, and repackaged them to the point where you only vaguely remember there being an envelope in front of you. In other words, they, along with fellow Frenchmen Deathspell Omega, redefined black metal as we know it.” And here we have a split with a band they influenced mightily. Master and Apprentice if you will.
“I’ll be honest: as a reviewer, I often don’t care how original a band is. Give me a thousand groups like Nails, who take a well-tread style and play it damn well, over any wacky group that artificially cobbles together disparate influences in vain pursuit of originality. To me innovation is something that should result from a band playing the music they love and want to hear, not an end goal in itself. And that’s exactly why I find Sektemtum’s sophomore LP Panacea so refreshing – not because it isn’t original, but because it seems to achieve originality without really trying that hard.” There is nothing new except what has been forgotten.
“Sora’s latest solo affair, the black-cum-experimental-metal outing Throane, appears as a clear extension of his earlier works and digital art. Drawing from influences of bands like Bluts Aus Nord, whom he works closely and often with, Throane’s debut Derriere-Nous, La Lumiere takes the atmospheres and minimalist ambience of Sora’s various other projects such as Treha Sektori and pushes them forward by providing a metallic edge.” The black arts on display.
“I have to get something off my chest here, folks. I’m getting sick and tired of bands hopping on the Retro Wagon of Regurgitated Ideas. There is more to doom metal than following the dragged robes of Ghost everywhere. Likewise, death metal has a beautifully disgusting range outside of the classic Sunlight Studios sound. And there’s more to France than fucked-up angular weirdness. So what’s a new band like France’s Cadaveric Fumes to do when trying to capture a unique sound? Take all three overplayed, over-saturated ideas, and combine them on their first three-song EP, Dimensions Obscure, that’s what! Surely, this is a recipe for disaster?” Let my people retro!
