Everto Signum - Beastiary

Everto Signum is a black metal band from Portugal, who formed in 2010.  Their latest album, “Beastiary,” is their second full-length album; they have also released an EP.  

The band is highly inspired by nature and called their musical style “Elemental Black Metal.”  This idea, this inspiration from nature, translates into the themes of “Beastiary.”   The overall story guides the listener through a chain reaction of natural disasters.  That story is represented through each of the seven songs, seven different cataclysms.   

It’s an interesting concept but, and this is me being honest, none of that matters if it’s not presented to the listener the right way. Well, does the band get their point across effectively?

Everto Signum absolutely nail it.  “Beastiary,” is a very adventurous album with a lot of energy.  Not only that but there is definitely a wild urgency running through the songs that is as infectious as it is dangerous.   The result is an album that is riddled with trepidation, fury, and a dynamic sound that steps outside the box of the usual black metal formula.

The band’s vast range of influences translates well, and if I said this is a progressive metal album, I don’t think I would be wrong.  With that being said, it is also very much a black metal album that blends riff-based structures with potent melodies without forgetting the natural, raw power of the genre.   

The atmosphere of the songs changes as the music ebbs and flows through various sounds, including the aforementioned prog, folk, and even dungeon synth.  Sometimes the tempo is fast as fuck, and sometimes it hangs back when the band needs to be explorative and contemplative.   Regardless of what sounds they play, and how they play it, the album flows smoothly from beginning to end. 

The album opens with the short but blistering 49 second intro “Genesis.”  The fast paced drumming, rumbling riffs, and piercing screams set up the album quickly and effectively.  

Then all hell breaks loose with “Colossus,” and a deep growl that accompanies it.  The drums have a great sound–full, deep, and powerful.  The guitar tone is very thick and empowering—but not overpower; the bass guitar doesn’t have to fight for its space and provides its own killer approach.

I love the bass peeking out from behind the start-and-stop rhythm of the riffs around the one minute mark. The song races towards its best moment at the 3:00 minute mark with the heavy-handed riffs and double bass.  The band settles into a catchy cadence, including the vocals as they ride a wave of an unique rhythmic approach.

“Wyvern,” has moments of frighteningly aggressive passages that arrive in quick bursts in between melodic bass and a subtle atmosphere that steadily rises as the song moves towards its zenith.  There are a lot of proggy moments here, specifically with the trade trade-off-offs between the bass and guitars.  It’s very clever and showcases just how well-written this song, and the album as a whole, is. 

“Dragon,” is a brutal song with a classic, raw blackened feel to it.  It’s mystic, arcane, and more than a little hostile.  However, the riffs oftentimes strike a sterling balance between heavy and melodic textures.  The galloping passage that begins at the 2:33 mark is nothing short of masterful–I had to rewind this part so many times because of how goddamn great it is.  The keys/clean chants highlighting the screaming vocals is perfectly bombastic without it being corny. 

Every song is good but the 13-minute epic “Deinos,” is by far the centerpiece of the album.  Every second of the song is great and the flow is perfect.  Ambient tones begin the song before low, depraved blackened death growls worm their way through the stark distortion. The tempo builds up well, going from a slow crawl to a faster-paced groove as it races towards the halfway mark.  Afterward, the song gives off even more urgency as it blizskriegs towards a jam session around the 8:25 mark which is catchy as hell.  

Everto Signum’s “Beastiary,” is a well-written black metal album that incorporates a ton of ideas and concepts—and pulls off every one of them.  Do you like aggressive black metal?  Do you like melodic black metal?  Do you like black metal that is focused on the songs?  Are you just diving into the genre and need a good band?   If you answered yes to any of those, you need this album. 

Duisternis - Relapse Into Submission

Duisternis is a one-man black metal band from Scotland.  The project's latest album, “Relapse Into Submission,” is its debut full-length album; an EP was also released earlier in the year.

The band’s name is Dutch for “darkness,” and I would say it’s a damn good name for the project.  “Relapse Into Submission,” is a very dark album, maybe one of the darkest I’ve heard this year in terms of atmosphere. 

The project has a very DIY feel to it and is just raw enough to capture the essence of the black metal genre.  However, it isn’t overly raw and this isn’t just another random black metal band.  Although it has many of the genre’s hallmarks, this is also an album that aims to do something different and stretch beyond its own boundaries.

It’s atmospheric but in a more subtle way, rather than an expansive and bombastic fashion.  There are elements of industrial music, specifically synths and eerie effects.  These elements are used very effectively and compliment the metal rather than take away from it.  Every note here is needed and it all comes together in service of the album’s overall sound.

I like how these different elements work together.  Sometimes the songs live in the liminal spaces in between the synths/effects but other times it’s all about the riffs and straight-up carnage.  The tempo echoes this—this album isn’t nonstop fas as fuck songs that go nowhere.  They are fast when needed and take a more introspective approach when it is called upon.  For a debut, it’s a surprisingly confident-sounding album.  “Relapse Into Submission,” knows exactly what it is, what it wants to do, and where it needs to go.  

It’s 8 song, 37 minute runtime is perfect—it has excellent flow from beginning to end and there isn’t a bad song on it. 

The album opens with “Seductive Addiction,” and its noise intro that builds up with clean, ambient tones.  It’s more than a little unnerving and sets the album up perfectly.  The sound bytes are a nice touch too.  Around the 1:14 mark, the band settles into a groove that sounds Gothic to me—it works, especially with the synths/effects in the background.  The blackened vocals arrive shortly after and as much as they contrast against the other elements, they still complement each other. 

That’s really the key here:  there isn’t one thing that could be removed from this album and it would still work.  Every element, no matter how different from each other they first appear, must be here to make it work. 

The tempo around the halfway mark is surprisingly catchy with it’s industrial-like beat that slides into a unique solo and killer rhythmic section. The song fades out as disturbing sounding as it began.  A great opening song!

“Decline of the Ages,” opens with the drums playing an offbeat but effective intro. This is a short, blistering song that’s just barely over the two and half mark.  However, a lot of ideas are squeezed inside it’s charred walls; every element of the band is presented. It’s as eerie/unnerving as it is vicious and uncompromising. 

“Darkest Desires,” fires right out of the gate with searing riffs that cut deep.  The vocals are so abrasive–the audio equivalent of vomiting up knives.  This song’s brutal atmosphere and caustic instrumentals are nearly alien, such is the uncommon fury.  The ending riffs around the 2:50 are MASSIVE as they plough through the effect laden landscape.  Goddam what a way to end a song! 

“Refrain From Mind,” is surprisingly gentle, what with it’s clean keyboard beginning.  But this false sense of security doesn’t last long—at the 32 second mark, a massive doom metal style riff suffocates everything.  This blanket of distortion is nearly palpable, especially when the double bass joins it. The vocals are chaotic and demonic–quite the performance.  The whole song has a “wall of sound” feel to it yet it’s distinctive enough to enjoy each element if you’re not brave enough to face the maelstrom all at once. 

The final song is “Crowned With Filth,” and it just might be my favorite on the album.  It’s really out there, in terms of just how against the grain it is.  This is a powerful example of black metal’s power but it’s also a fitting display for what this album is all about.  The synths in the background add a prenatural fury to the riffs and vocals—it’s almost surreal. 

Duisternis’ “Relapse Into Submission,” is an awesome late year surprise for me and the genre.  I know a lot of you have already made up your mind for your favorite black metal albums of the year but I’m tell you know, don’t publish those lists until you hear this beast. 

Old Wainds - Stormheart

Old Wainds is a black metal band from Russia, who formed in 1995.  Their latest album, “Stormheart” is their fifth full-length album; they have also released three demos and a split.  

“Stormheart,” also happens to be the band’s first album in ten years!  So many bands once thought lost are making comebacks…and this album is one of the strongest ones I’ve heard lately.  

This album is interesting because it has a firm grasp on black metal’s aggression but it’s still atmospheric.  While it leans more on fast paced energy, it isn’t afraid to be introspective when needed.  An example is the opening song, “Watch The Midnight Unveil.”  The intro builds up into fast paced drums and a cold, distant atmosphere that’s highlighted by subtle melody at a much slower tempo.  It’s an odd sort of combination that works because it builds up the tension, leading into a steady groove by the time the full band comes in. The song stops for a brief second at the 1:59 mark, leaving a door open for the band to walk through as an even more aggressive entity.

Of course, the band is just as effective when hitting hard and fast, as in “Of Night and Ice.”  This song barrels through from the first second, revealing a song with very abrasive riffs that are low and deep but not slow.  The band still offers melancholic and frozen notes interspersed between the speeding carnage.  Simply put, the band exists in two worlds at once but never has to pick and choose as both are seamlessly woven into the fabric of their compositions. 

The album flows well across its 7 song, 43 minute runtime. That’s pretty much the sweet spot for black metal; from one song to the next, “Stormheart,” does not have a bad song or even a bad second.  By the time “The Eternal, the Dead, the Arcane,” the album is firing on all cylinders!

This song is a beast with a massive, rolling groove ripping it up the moment the song begins.  The vocals are disgusting and vile, always a good thing.  The painful screams and laughter around the halfway point is a nice touch, adding a level of brutal psychosis.  There are moments in this song, brought on by the drums and the guitars that get meaner as the seconds pass, where the song is unfathomably heavy. 

“Snow Storm,” nails the underground elements of black metal with the bleak, cold atmosphere that it so often represents. Much like a snow storm, it is unrelenting and dense as hell.  Like howling winds, the music ebbs and flows from huge swaths of atmospheric intensity to straight line winds that cut straight through to the bone.  This is a raw, powerful song and the best one on the album and the only way to end this journey.

Old Wainds “Stormheart,” is a fantastic aggressive yet deep black metal album that sent me to a frozen, destitute world.  Fans of the band won’t find anything to complain about here and newcomers will be made a fan instantly. 

Order of Nosferat - Towards the Nightrealm of Orlok

Order of Nosferat is a black metal band of international origins, specifically Germany and Finland. Their latest album, “Towards the Nightrealm of Orlok,” is their sixth full-length album; they have also released a split.

I’ve said it before and I’ll say it again: I love reviewing so much because of all the badass bands I get to discover.  Case in point is Order of Nosferat; their latest blackened slab of bloody vampiric haunts is my first time hearing the band’s music.  

I love how damn raw this album is yet it has a keen sense of melody with its usage of synths/keyboards.  Their metallum page says they are black metal and dungeon synth.  I won’t argue with that but this album is way more interesting than any true dungeon synth I’ve heard. It is obviously a big part of their sound but the black metal shares equal airtime as well.  As a result, “Towards the Nightrealm of Orlok,” is an album that is haunting all the time even while it is throat ripping.

The album opens with “...Far Away to the Land of Ghosts,” and, as far as intro tracks go, it is pretty damn solid.  It without a doubt carries the atmosphere and theme of the album and it doesn't sound half bad either.  I appreciate that it runs into the first full song “Crossing the Shadowland,” so it creates a seamless blend of storytelling. 

“Crossing The Shadowland,” begins with immediate energy and riffs so raw they ride the line between being actual notes and just static distortion—sounds amazing!  The synths are raw too, sort of muffled and definitely bleak.  They provide a fantastic layer to the song without overtaking any of the band’s primal power away.  The drumming is engrossing, the right notes at the right time always finding their place among these shadows.

“At The Sea She Longs For His Return,” is so goddamn beautiful in a way that’s hard to explain to normal people—in a way that only black metal can be.  The synth work is depressive but there is a regal atmosphere to its bleakness that make it hard to ignore.  Its melancholic tones pair so goddamn well with the blackened screams.  The riffs are a heavy blanket, suffocating darkness that hangs over the song like a neverending winter.  Around the 4:11 mark, only the drums and keys/synths remain–it’s a twist that fits in, which really shouldn’t be that much of a surprise at all.   The black metal returns to end the song with sorrow tinged riffs that end this dirge with a bang.

“Into Pale Shadows and Ghostly Dreams,” is like a surreal moment when you’re caught in a fever dream but can see and feel the nightmare as much as you would if you were awake.  The song transitions to unrelenting speed and riffs around the 1:54 mark, a visceral display of caustic savagery.  The screams reach for pain and horrific emotions that can’t be easy to pull off but yet here we are.  I like the synth/key/ambient passage that begins at the 3:45 mark–I’m amazed at how well the band explores these other planes of existence without compromising their core black metal sound.

The final original song (the actual last track is a cover) is “Beyond The Eternity Gates,” captures the mood and themes of the album as a whole.  The synths and metal are truly one, cohesive force.  It’s depressive yet beautiful, contemplative yet arresting.  

Order of Nosferat have impressed me with their approach to atmospheric elements and how they present their powerfully bleak black metal.  “Towards The Nightrealm of Orlok,” is a (very) late year surprise. 

Deivos - Apophenia

Deivos is a death metal band from Poland, who formed in 1997.  Their latest album, “Apophenia” is their seventh full-length album; they have also released a demo and an EP.  

This is the first time I’ve heard their music and I’m kicking myself—I’ve been missing out for 27 years!  Damn!  Oh well, better late than never, right?  Unfortunately, I did not have time to check out their back catalog but if “Apophenia” is any indication, I'm in for quite the ride.

This is exactly the kind of death metal I like: bludgeoning yet engaging.  From the first note to the last, the entire blistering 33 minute runtime across 9 songs is an absolute blast. The aspect I like most about the album is that’s it is technical without all the moddern “widdly wham” that comes with *insert random tech death band here* these days.  These days?  I know I sound like an old man yelling at clouds (I’m 41 so I guess I am old anyway) but I just love it when a band can play in a technical fashion yet still manage to write actual riffs with groove and notes that don’t always fly by at 1000 mph.  “Deivos,” is the album that captures what the tech death scene has been missing. 

The production is loud and vibrant, capturing the many dynamics and twists in the music without being too clean or overproduce.  Every instrument shines in the best way and all the bright spots, ike the solos or time changes, are captured perfectly in the mix.

The barely controlled chaos begins with “Feretory.” Within ten seconds, the sound is encompassing and massive.  Vocalist Angelfuck (and why wouldn’t that be in his name, really) is monstrous and adds a special layer of brutality to the music.  Around the 1:32 mark, guitarists Tomasz and Mścisław hammer so ferociously that I had to rewind this passage multiple times because the punishment was so severe, so unrelenting that I managed to beg for the pain over and over again. 

“Sermon of Hypocrisy,” is brought to life by the ravaging rhythm prowess of the beastly Kamil (bass) and Krzysztof (drums).  No doubt this is one of the most powerful duos I’ve heard in death metal this year—their sound is thick and suffocating, even without the other instruments in the mix.  Remember those solos I talked about earlier?  There are a couple short but sweet ones here (at the 1:4 mark and the 2:57 mark) that claw their way out of the fury, showcasing a special brand of madness.

“Revelations,” is maddening in its approach but every note belongs where it is needed to create a song that flows much better than any song this goddamn intense has a right to. I love the riffs at the 2:06 and the bass I might love even more.  The solo around the 4 minute mark is almos unexplainable but it leads right into a slower tempo crush that ends the song on one of its best moments.

Ah yes, now we come to the title track.  Monolithic.  Massive.  Encompassing.  Brutal.  Any number of things could be said about it but it’s an experience that’s better enjoyed with a decent pair of headphones so you can feel what I did: my head imploding.  As the song approach its midsection, the band throws out grooves that just bulldoze everything.  The technical flourish after the solo is just as impressive and it’s so crazy how these guys blend riff based death metal with technical aspects so effortlessly

The final song is the roaring “Persecutor.”  The drums and bass ramp up the urgency almost instantly and the band rides alongside, throwing out riffs that balance the groove and the tech while the vocalist barks out his sermon with guile and venom. 

Deivos’ “Apophenia,” is one of the best death metal albums I’ve heard in this final half of the year.  I wish I had discovered them much sooner but I’d say this is obviously one hell of an album to start with.  .  

 

Mefitis - The Skorian//The Greyleer

Mefitis is an extreme metal band from California, who formed in 2007.  Their latest album “The Skorian//The Greyleer” is their third full-length album; they have also released two demos.

According to their metallum page, the band is described as “dark metal.”  Going into a bit more detail from such an ambiguous term, I could easily see their music being labeled as death, black, and even Gothic.  Regardless of what genre you want to lump them into, “The Skorian//The Greyleer,” is an adventurous extreme metal album with a lot of detail to it. 

This album certainly isn’t an easy listen at first.  It flows very well and with a run time of just under 42 minutes across 8 songs, it isn’t overly long either.  But it’s dense with a lot going on.  Sometimes these details are more obvious with a direct approach but, at other times, the band doesn’t have any issues taking a more subtle approach.  

Personally, I like music like this and this was a fun album to dive into and explore all its intricacies and details.  There was obviously a lot of care and thought put into this album and it paid off in a big way.  

The production/mix helps with the enjoyment.  Despite all that is going on in the album, every instrument is balanced against the other one.  The songs never sound cluttered or convoluted, either.  

The album opens with the explosive “Vire’s Arc,” represented by the pulsing bass and insanely tight drumming.  This is a more blackened metal oriented song, complete with abrasive screams and an underground feel to the atmosphere.  But subtle keys and tempo changes keep the song fresh and exciting, focused on its desire to be not quite the focused composition for the listener. But it’s so good that you’ll want multiple listens anyway and it will begin to reveal itself over time. 

That’s really the key for the album, too.  It demands multiple listens because with each session, I discovered more and more intricacies that made me (happily) fall further into this rabid rabbit hole. 

“The Untwined One,” opens with a massive Gothic feel but moves forward to a death metal oriented style.  At this point, it is clear the band doesn’t rest on any one moment for too long and is more than satisfied with presenting this song (and each song) with multiple angles from which one can listen. The use of clean vocals is fantastic, never taking away from the extremity but adding to the layers. The melodies near the end are catchy, providing an engaging hook to grasp upon.

Speaking of melody, the band dives headfirst into it with the opening seconds of “...And the Mason Wept.” But the urgency builds up, just bubbling underneath the surface as it’s cooked to  froth with the drums.  The melody returns at the halfway point–it sounds unique, kind of old school yet Gothic and just theatrical enough.  

One of my favorite songs is “Wanthriven,” due in no small part to the opening, blackened grooves. The keys latch onto them perfectly, both instruments becoming one.  This opens the path for the Gothic cleans to make their presence known—so impressive how this song flows so smoothly even while offering so many soundscapes.  Of course, that is indicative of the album as a whole, too. But on this song it works exceptionally well.  I love how the bass builds up a hypnotic rhythm too, subtle and catching me off guard. 

The final song, “The Greyleer,” is the shortest on the album and seems to be the most straightforward.  However it isn’t any less engaging.  The fast paced rhythms and the clean vocals couldn’t be more different yet they couldn’t compliment each other any better.  Their usage makes the extreme vocals all the more biting, too.  

All in all, Mefitis’ “The Skorian//The Greyleer,” is a highly complicated album without actually sounding like it’s all that complicated.  It’s smartly written, deceptive music that will provide many great listening session if you have the patience to dive in and discover its many wonders. 

Against I - Songs For The Dying

Against I is a Swedish melodic death metal band, who formed in 2022.  Their latest album, "Songs For The Dying," is their second full-length album; they have also released four EPs.

Sweden isn’t a stranger to melodic death metal, having given birth to it decades ago.  Over the long years, the scene has come and gone through a lot of sounds.   Ranging from the classic Gothenburg sound to more aggressive avenues (and everything in between), the country has been pumping out melodic and melancholic jams so consistently that you would be forgiven for rolling your eyes at yet another melodic death metal band trying to get their name out there. 

Don’t roll them too far or you’ll miss Against I, whose “Songs For The Dying,” shows a lot of promise for this still young band.  What the album lacks in originality, it more than makes up for in energy and composition.

Against I play a very modern version of melodic death; the influences from the old-school days are there of course but the band isn’t afraid to inject other styles into the sound.  Thrash elements and a ton of groove can be found among the 11 track, 43 minute runtime, and it certainly helps spread out their vision and reduces monotony.  

The guitars tend to be atmospheric as well, focusing on as much mood sitting as they do thrashy grooves.  But it all sounds cohesive and flows pretty damn well.  I don’t think 43 minutes is too long of a runtime for this style but it goes by a lot faster, which is never a band thing and a testament to the songwriting contained within. 

Production/mix is about what one would expect for this genre; it sounds fresh, loud and clear but could definitely use more of a low end presence for some added heft.  

The album opens with “Bound In Blood,” and it immediately jumps to what the album does best: quickly ramping up the energy and diving head first into the song.  Before the 30 second mark even passes, the band is firing on all cylinders and settling into a steady groove.  I like the vocals a lot; mostly the vocals are death screams a la At The Gates but deep growls are used as well.  Regardless, the vocals are just potent enough without overtaking the melody. 

Supposedly, this band used to be more industrial leaning; I haven’t had time to check out their previous releases so I can’t comment but “A Hymn For The End,” does have light usage of those elements.  The opening riffs are fast and rumbling, a neo-groove approach that reminds me much of 00’s metalcore, which is never a bad thing.  The slower parts, highlighted by the tight drums, inject a melancholic atmosphere to the song which also adds to its urgency. 

The guitar opens “Eternal Slumber” with a catchy lead before the riffs begin to hammer it down, alternating between speedy attacks and crunchy rhythms that keep the song open to embrace the subtle usage of keys. The last half of the song finds the guitar taking an interesting return to their melodic tinges before ending the song on a furious note as it fades out to ethereal keys.

“Father of Lies,” is one of my favorite songs on the album, it’s riffs finding a catchy balance between groove and more expansive avenues.  The band turns on a dime, heading into a thrash passage with hammering riffs and drums. The bass gets time to shine, peeking out from the spaces in between the band's audible assault. 

Another banger is “Praise The Dead,” which is loaded with sinister guitar tones and surprisingly thick riffs.  Musically, the song thrives on these grooves but the keys highlight the song perfectly, once again, keeping the energy high.  Around the 2:47 mark, the band embraces death metal for one of the best moments on the album: grinding riffs, deep growls, and destructive drumming.

The final song, “The Blackest Night,” is absolutely fantastic.  It’s immediate, catchy, and has a really cool vibe to it that just grabbed me from the get go. The guitars are at their most melodic on this song, contrasting with the vocals yet making it work.  There is a certain tragedy to this song, the air of despondency that makes it sound out from the rest.  

Against I’s “Songs For The Dying” is a solid representation of melodic death metal from a band that manages to balance modern sensibilities with the roots of the genre.