Sigh

Steel Druhm Reflects On What’s Wrong With Black Metal

Steel Druhm Reflects On What’s Wrong With Black Metal

Okay, I’m just going to come right out and say it. Black metal as a genre has stagnated and become very boring. While that inevitably happens to every musical genre (power metal has had it bad for about six years), with this particular style it seems far more pronounced and chronic. Although I’ve appreciated the scene and sound from its earliest origins (as a Bathory fan in the 80’s) and essentially grown up alongside the genre, the past year has seen things run into the creative wall and slowly slide into a morass of tedium and lethargy. Be it the symphonic or the raw and primitive, very few bands are doing anything new, interesting or compelling (even the new Agalloch felt samey and safe). While some solid albums surfaced in 2011,they feel increasingly rare and even those offered little in the way of innovation or originality. Obviously, of all the subgenres of metal, black metal is the most rigid, inflexible and laden with rules and expectations of scene orthodoxy. Throw a saxophone solo on a power metal album, it may be daring and ballsy. Try that on a black metal album and you’ll be burned in effigy across Norway (and parts of New York).

Defiled – In Crisis Review

Defiled – In Crisis Review

I’ll admit it, I’m a biased motherfucker. When I think of Japan, I think of anime and J Pop and bands like over-the-top shit like X Japan and the crazy clown lookin’ girls, not brutal death metal bands like Defiled. I guess I should have learned this lesson already from bands like Gore Beyond Necropsy and Sigh and others who break against this stereotype in their own way, but no, my bias remains. Though I guess you can really say that Defiled is over-the-top, as they are an excellent, but also very brutal and pretty technical death metal band that is releasing their fourth full length. However, I can say that I was right surprised to get this record since I had no idea it was coming out and it has been 8 years since their Season of Mist debut Divination. But whether or not I had warning, Defiled has put out another ball breaking slab of death metal crushingness.

Demonic Resurrection – The Return to Darkness Review

Demonic Resurrection – The Return to Darkness Review

As world metal takes the stage, something that is happening more and more frequently these days, we’re going to be seeing more of these bands coming from places where metal just hasn’t ever shown its face earlier. Demonic Resurrection, as those of you familiar with Sam Dunn’s documentary Global Metal already know, are a band from India who play symphonic black metal. The third record in a trilogy The Return to Darkness is being released (as I understand it) as the band’s first international release via Candlelight Records. That Sam Dunn is a rockstar creating machine, it turns out. Though, when it comes to Demonic Resurrection, their music speaks for itself and if you give that music a stage that myriads of metalheads have access to, it’s not hard to see how they managed to break beyond their borders.

Sigh – Scenes From Hell Review

Sigh – Scenes From Hell Review

Let me start with the a territory that isn’t very comfortable for many in heavy metal: orchestrations. Heavy metal has seen many variations on the classical orchestration in many different subgenres. Neo-classical metal, like the wanky stuff with Yngwe or Symphony X, has long bragged about the influence of baroque and classical music. Bands like Rhapsody of Fire and Epica do things that sound like they should be straight out of a movie score and black metal even has a symphonic sub-genre, most notably filled by Dimmu Borgir, whose symphonics have gone over the top in the last few years with the addition of Mustis (though we’ll see what happens now that he’s gone). Never before in my tenure of heavy metal listening have I heard orchestrations used in a black metal record to such effect as they have been used on Sigh’s new record Scenes from Hell.