Autarcie: Horizons Funestes (2011)

When Famine of Peste Noire fame set-up his label La Mesnie Herlequin, one of his intentions was to "to delve into the depths of French and Old World Black Metal to uncover, region by region, their historical and cultural archetypes and local literatures". Autarcie's Horizons Funestes is the first attempt at plumbing those depths outside of Peste Noire; La Mesnie Herlequin's website describes it as "a CD that smells like winter in backwoods France, like the End to come," exactly what the label aims for. Horizons Funestes, with its DIY sloppiness and raw production certainly fits the bill, and is a definite sign that the label is off to a good start.

Autarcie's style is old school and no frills. Most of the riffing involves interlocking tremolo picked guitars, one lower end so as to denote rhythm guitar and the other providing lead. Blast beats buoy the guitars during fast passages. The bass is audible and provides a low end which adds depth to music which could otherwise sound thin. The production has a decrepit rawness that lends itself perfectly to the music, helping create that raw, wintry atmosphere attributed to the album by the label. Vocalist and lyricist Nokturn rasps his way over the music satisfyingly. Autarcie tap the French tradition of melancholy and sombre melody that bands such as Vlad Tepes and Mütiilation pioneered, and it's quite possible that the duo behind the band are fans of fellow Frenchmen Celestia. They are by no means a carbon copy band, however; rather than simply worshipping the old sound, they invoke it to create something individual.

Autarcie's unique spirit shines most in the porousness of their song structure. Tracks are long, the shortest passing just over 6 minutes, and duo take the time to explore many soundscapes in each track. Melancholic passages may give way to some particularly beautiful lead or little trick that grants a sense of disheveled adventure to every song. As said, it has a sloppy feeling, as if the songs need to keep moving for fear of otherwise falling to pieces. It's part of the pleasure of Autarcie, but in some ways also a weakness. The free spirited nature of the music at once satisfies as it does leave one unbalanced, wishing for something a bit more stable. Sometimes the threat implicit in playing with a double edged sword can provide a thrill though, and without that sense of the ephemeral, Horizons Funestes wouldn't be the same.

Autarcie provide a unique experience with Horizons Funestes, and at their best provide a pleasurable experience. Any fan of French or raw black metal will find much to enjoy here, and it's worth a listen. Autarcie are a hidden gem that deserve more recognition, and anyone who listens to Horizons Funestes will hear why.

8.6/10

Trial Track: "Citadelle"

WORSHIP

-Faulty

Behemoth: Satanica (1999)

Satanica was a turning point for Behemoth, the album where they stepped off the beaten path and embraced the style of blackened death metal for which they are now best known. Despite the strength of their very early black metal work (they still play "Moonspell Rites" from And the Forests Dream Eternally live for a reason), they were still merely recreating an already established style. Satanica's preceding album Pandemonic Incantations had a vague death metal vibe, but it was a sloppy mess of unoriginal Norsecore at its root, and at best hinted towards what Behemoth would become. Satanica was it though, a death metal record that spoke of their black metal roots while bubbling with ideas that make it an incredibly enjoyable listen. This album is the first example of what has since made them one of death metal's most well known bands, and shows that why they deserve their acclaimed status.

From first to last, Satanica is a bucket full of riffs, as any death metal album worth its salt should be. The balance Nergal drawn between black metal and death metal on the riffing is deft; rather than opting for thick death metal chords with the occasional black metal tremolo picking, the riffing takes the form of one or both genres in many ways at many times. Right from the energetic explosion that is opener "Decade of Therion", this clearly audible. It's hard to describe the torrent of riffing that makes up the song, but it's clear upon first listen. What is also noticeable is the ease with which the guitars shift from riff to riff. They're missing the snap-lock tightness of more recent Behemoth work, but they still change-up organically and in good conjunction with the rest of the music, particularly the drums. Drums have always played an important part in Behemoth's brand of death metal, providing a strong center both through driving rhythms and individually fascinating displays of skill. Inferno's ability to drum like the best of them is well represented, with blast beats, snare and drums rolls, and heavy double kick drumming all providing a powerful core over which the guitars blare. Nergal's deep growls roar over the music in equally well managed conjunction. The multitrack technique that adds energy to more recent tracks like "Slaves Shall Serve" is missing, but Nergal is an adept vocalist and covers his role with gusto. The way he growls "starspawn" in the song of the same name is intense, and he interacts with the vocal effect in "Chant for Eschaton 2000" interestingly by changing the manner of his growl, at times bringing it up to more of a harsh singing style.

Components like the aforementioned vocal effect are part of what makes Satanica so enjoyable as well. There are plenty of clever ideas that pop up throughout, like the melodic harmonies and leads in "Ceremony of Shiva", (to iterate) the vocal variety on "Chant for Eschoaton 2000" and its urgent riffing, and the melodic solo that echoes through "The Alchemist's Dream". Nergal and co. obviously put a lot of creative energy into making this album, and it shows. Though it doesn't have the same tightness as, say, Evangelion, Satanica has a creativity and honesty that makes it one of the most enjoyable albums in Behemoth's discography. Overall, Satanica is a treat, a fantastic death metal album that's as important to Behemoth's history as it is fun to listen to.

9.4/10

Trial Track: "Chant for Eschaton 2000"

WORSHIP

-Faulty

Pseudogod: Deathwomb Catechesis (2012)

Russia's Pseudogod are nothing if not blunt. The style of black/death metal they play is generally not known for being artful, but Pseudogod have absolutely no interest in breaking those rules. Their debut album Deathwomb Catechesis is 40 minutes of brutal and unrelenting metal in the greatest sense of the word. The album is a wrecking ball, with every element and second of the music dedicated to pulverizing the listener in a dozen different ways.

Incredibly thick, low-end guitars pummel you with their weight, and varied and energetic drumming engage with them, both providing a driving force behind the music as well as their own aural pleasure. Low, growled vocals in the death metal tradition's purest form thunder their way over the cacophony with satisfying depth. Pseudogod may not show much subtlety on Deathwomb, but they know how to use these components towards a greater whole. They know the trick that separates the Archgoats from the Black Witcheries in the genre: those shifts in riffing and slow, doom laden moments that add the variety the various tracks need. Exempli gratia: The guitars diverge in "Saturnalia (The Night of the Return)", with one speeding along in tremolo picked fury as the other plays sinister chords from the right speaker, before slowing for a crushing bridge, and then kicking into full gear again. Pseudogod manage to take the unrelenting force of their music and spice it up enough to keep the listener engaged.

Ultimately though, there's more to listen to than talk about here. Pseudogod's music doesn't have the ultimate complexity of Goatpenis or the deceptively simple layers of Revenge or Conqueror that add up to a greater whole. They're here to riff you into oblivion, and the album easily warrants a hear rather than a read. It certainly deserves a recommendation, despite its not any new ground. It breaks faces though, and with music like this, who needs new ground anyway?

9/10

Trial Track: "Azazel"

Worship 

-Faulty

Mondstille, Panopticon and Music Support

I've had the pleasure of being in contact with David of Mondstille, whose most recent album I reviewed the other day. Just want to make sure you support these guys: if you like the album and have the money, order the album from their website. They deserve it.

I've decided to offer links to the locations online where you can buy the albums I review to try and drum up some economic support for the people who bring us the art we love.

Finally, another Panopticon track from upcoming album Kentucky is up on my friend Harold's blog, Hammer Smashed Sound. Make sure to check it out. Panopticon are a favorite band of mine, and with good reason I believe. Kentucky is now also available for preorder at Pagan Flames Productions.

Mondstille: Seelenwund (2012)

Attempts to add a positive aspect to black metal have happened in the past. The genre has always made extensive use of juxtaposition between the beautiful and ugly, the melodic and the dissonant; so attempts to add a more life-affirming beauty to the typically negative genre are unsurprising and nearly inevitable. Nargaroth's Jahreszeiten has an upbeat folk melody in "Frühling", Sigh and Lifelover have used poppy guitar work juxtaposed with dark vocals and lyrics, bands such as Skagos and Wolves in the Throne Room have conjured the majestic beauty of nature in their work, and quasi-black metal band Liturgy's entire schtick has been a positive revisioning of the genre. Still, it's hard to bring to mind something that conjures the same feeling of majesty as Mondstille's Seelenwund. There's a sense of triumph to the album, a sense which makes this one of 2012's best and most fascinating albums to date.

The album shows this staggering sense of beauty instantly with the first guitar riff on intro track "Ich hab geträumt ...". The black metal standard of tremolo picked ascending and descending riffs is present, but rather than drawing a sense of darkness, melancholy or evil from it, "Ich hab geträumt ..." provides an almost upbeat sense of expectation to it, which is immediately satisfied with the burst of energy that is "Mein inner Sturm". The riffing on "Mein inner Sturm" sets the standard for that of the album: tremolo picked black metal melodies with a sense of positivity to them. The music isn't "happy"; there's a sense of nostalgic melancholy to it, but there's a romantic, life-affirming sense of being to the music. A certain yes-ness (for lack of a better word) is present that is, in a sense, the opposite of the nihilistic striving for an evil metaphysical state that Darkthrone conjured with "Under a Funeral Moon". Even the cover works towards this end; the figure standing in the warmly lit forest seems the opposite of the many, many black and white covers of figures standing in snow swept forests. Mondstille aren't here for a funeral, they're here to explore the inner storm of their existence in all its heights and depths.

Despite the many great riffs in Seelenwund, the listener is treated to what truly makes this album a gem at the end of "Mein inner Sturm" when cello plays its way into the composition. The use of cello, provided by session vocalist Anna, and violin, by band member Lundar, is absolutely rapturous. That cannot be overstated. They aren't used in folksy cliché way, nor do they simply follow along with the music. They provide numerous gorgeous moments in a variety of ways. Cello takes on the position of lead in "Im Trauerhain" as the guitars shift into a high-energy rhythmic riff, violin provides an unforgettable line over some of the best riffs of the album in "Zeitenwandrer", the cello practically weeps during the acoustic bridge of "Flammend", the two instruments interplay gorgeously in title track "Seelenwund", and in one of the most beautiful moments I've ever heard in a black metal song, the violin and cello communicate back and forth, presenting a stunning shifting palette of emotions. That's only naming a few. On an album already full of memorable riffs, the violin and cello push the music to the next level. Mondstille have achieved a unique and original musical feat in their use of the instruments, beyond any preexisting notion of folk/black metal or classical instrument usage.

It's very hard to say anything bad about Seelenwund. The drumming never sticks out, always providing exactly what is needed, but never really more. Despite "Zeitenwandrer" being one of the crowning jewels of the album, the blast beats come near drowning out the riffs at first listen, but the mix is balanced and professional, putting everything where it needs to be, and averting what could have potentially marred the song. The screams are well performed but won't make any lists of favorite black metal vocalists. The beautiful melodies can begin to feel disorienting given the usual darker nature of black metal, but the rapture that they bring outweighs any major complaint other than those that come solely from listener preference. It's really a testament to the excellence of this album that the worst things that can be said of it are that parts of it are simply good and that it's very beautiful.

All in all, Seelenwund is quite an achievement. It is a powerful take on black metal and stretches the genre's ability to be as beautiful and life-affirming as it can be dark and nihilistic. It uses cello and violin in a way that is wholly unique and unforgettable. This is only Mondstille's second release, but it proves that they're natural talents when it comes to the art of writing black metal. Seelenwund is one of the best black metal releases of the year, and is highly recommended to any black metal fan looking for something new or heart wrenching.

9.6/10

Trial Track: "Die Seele frei"

-Faulty

New Panopticon Track

A new track from Panopticon's upcoming album Kentucky is available for streaming. Very excited for the album, as the only Panopticon I've disliked is the second split with Wheels Between Wheels, and then only because it was shoegaze/post-rock in a style I'm not particularly fond of. Listen to the song there.

-Faulty

Brume d'Automne: Upcoming Album

Québec's Brume d'Automne will be releasing an eponymous album next month. Their song "Rouge Souvenir d'Antan" is a favorite of mine, and some day I may review the split (with Forteresse) it's on. An alternate version of the track will be on the album. I greatly look forward to its release. Check out the track, see if you like it:

-Faulty