Why hello 2018, you fresh-scented toddler! Amidst the first days of the new year, the bombardment of new releases has already commenced. Oh do pity us narcissistic bloggers!
Aside from following the online commentary blockbuster surrounding a certain Mr Flynn reacting to a somewhat confusing review about his band’s upcoming album, I did manage to find time to listen to some new albums, quite the cocktail with chasmal despair, fiery damnation and palpable misanthropy being the main ingredients, the usual merry stuff.
Sinistro’s sophomore album from 2016 showed some potential, no question about it. However, it didn’t feel fully distilled though. The band’s own brand of doomy post/slugde metal has developed into a stronger expression on “Sangue Cássia”. The overall ambience is bigger, celestial and the increase in experimental sounds adds some needed variety. In short, these songs have more textures than the ones on “Semente”. Patrícia’s singing appears more confident, I love the fact that she sings in her native tongue, it makes the whole experience more intense and otherworldly with the additional stints of monumental black/doom passages.
The band has done several videos leading up to the album release. Check them below. Also noteworthy is the lush and intimate Paradise Lost cover, interesting choice I must say. Curious? I’ve also included the song here as well.
Negativity and destruction are everyday working tools for metal’s villain number one, Niklas Kvarforth. Sweden’s Shining are in many ways a paradox, shrouded in vast flows of opinions. Their lyrical themes suggest low-fi, kvlt audio hell, yet there’s nothing primitive about their sound production or songwriting. I tend to think the dramatic and hostile image presented has less weight than the actual music that is written to accompany the nihilistic messages, although the idea of entering a suicide forest to kill oneself, as presented in the elegantly driven closer “Mot Aokigahara”, definitely had me stopping for a moment.
“X – Varg utan flock” has enough compelling blackened riffs, twisted vocals, curved song structures similar to Opeth’s vintage acoustic breaks and lyrics addressing lawlessness, to make you feel both unpleasant and content. Most notably is the second track “Gyllene portarnas bro”, which represents rather well what this album is all about. The shock value may be in decline but musically, this is some captivating stuff. I’ve attached the previously mentioned track and the lead single “Jag år din fiende” below.
Next and final release to be featured here is steeped in theistic satanism. They’re the real deal and are being hailed by many as heirs to Dissection’s blackened legacy, raise a chalice of blood for Watain!
Unholy fucking shit, how this new record absolutely violates the ears. Compact songwriting, gargantuan measures of aggression and serpentine melodic guitar lines clash to form an urgent sound that’s deeply passionate, without any pretentiousness or nyckelharpa arrangements. The devilish atmospheres at the end of “Sacred Damnation” or the scorching riffs that open “A Throne Below” are just some examples of the potent execution found on the album. This will undoubtedly solidify the band’s position as one of the chief black metal bands around, cementing the relation between ideology and music.
The music video for the lead single “Nuclear Alchemy”, provides a good insight on the character that has forged “Trident Wolf Eclipse”, one of blazing rebellion, and the lyric video for “Sacred Damnation” is… well it’s a lyric video. Check out both clips below!
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