Clandestine Blaze - Falling Monuments (2010)

Falling Monuments is the first full-length album to be released from Finland's Clandestine Blaze in quite some time. Arriving at the end of December 2010, from Northern Heritage Records, four long years had passed since the last album, Church of Atrocity. It seemed that the band was put to rest with that record, since Mikko was busy with Deathspell Omega. In a sense, it was almost as if this had become a forgotten side-project that he no longer had time for. Even the last album was rather lackluster, compared to those that had preceded it. Clandestine Blaze was never really known for being terribly original; more than anything, the band served to keep alive the basic sound and spirit of the Second Wave of Black Metal, with a little something else added in. However, a clear progression could be seen over the course of the first few albums. 2004's Deliverers of Faith marked the high point of Mikko's creativity, something that was lacking on Church of Atrocity. Following that release, Clandestine Blaze seemed to fade into nothingness, destined to remain a footnote as the solo project of the DsO vocalist, and nothing more.

After four years of silence and making pretentious music that no longer had anything to do with Black Metal, the old spirit began to stir and Mikko felt the need to return to his roots. Much like with the last album, Falling Monuments had very little promotion and I only learned of the release by chance. Due to the feeling of being somewhat let down by Church of Atrocity, I was somewhat hesitant to give this a listen, despite the lengthy amount of time since the band's last output. Upon first listen, the album is not particularly impressive and does not do much to correct the mistakes from the last outing. Nonetheless, it is another decent slab of northern Black Metal that is sure to satiate those needing more of this type of music.

"Unfolding Madness" begins with an intro that is reminiscent of the one used for the Satanic Warmaster / Clandestine Blaze split. Noises that almost remind one of something from the Hellraiser films are joined by distant and tormented screams. Suddenly, the music comes in and begins pounding your skull. Fast tremolo riffs and blasting drums signal the return of one of Finland's least known Black Metal bands. The production is a bit strange, being kind of hard on the ears at first. This keeps in line with the last few albums, since he chose unorthodox sounds for each one, for one reason or another. The drums are a little too loud in the mix, though this might please those who always complain about how low the percussion is in minimalist Black Metal. After a couple minutes, the pace slows a bit, before a more miserable and torturous melody dominates the sound and is joined by howls of despair. The final moments of the song are the most memorable and it is at this point that your ears begins getting used to the odd mixing.

The next song is "Possession of Nordic Blood", which is more mid-paced and features some ominous riffs. The sound is very primitive, yet still has the trademark Clandestine Blaze melodies and is slightly disturbing, yet not as dark as it could be. Typically, Mikko includes one or two mid-paced tracks that rip off Celtic Frost riffs, and end up being boring as hell. Thankfully, this one is still dynamic enough to avoid falling into such traps.

"Call of the Warrior" begins with some simplistic and rather boring riffs, before speeding up and becoming a little more interesting. The riffs are difficult to hear, but some sort of horn accompanies the proceedings and gives more character and helps add a feeling of dread to the song. It could be something else entirely, but that is what is sounds like. There are some decent riffs, but the production hinders any possibility of fully appreciating them. In that sense, it's almost like some of the old Moonblood rehearsal tapes; there would be brilliant melodies that were impossible to really soak in, due to the poor sound. Necro production is one thing, but one should always ensure that the guitars are clear enough for the full effect to be felt. In this case, it's walking a fine line.

This is followed by "Melancholy of the Falling Monuments", which is a slower-paced song that really drains the life out of you. From the first moments, this manages to stand out from the rest of the songs as one of the true highlights of the record. Mikko's vocals hearken back to the early days of the Second Wave, reminiscent of Nocturno Culto, in a way. The riffs are sorrowful and one can feel the hopelessness and the urge to turn away from the dying world, to simply crawl into an open grave and forget all that has been lost. There is no longer any will to fight and reclaim what once was; rather, it is easier to sacrifice all hopes and dreams and to just put the blade to your flesh and begin carving until the snow is stained with your blood. The song is very minimalist, yet subtle additions come near the end to ensure that the somber atmosphere crushes your spirit.

"Bloodsoil" picks up the pace, after a brief intro. The cold tremolo riffs don't sound terribly original, and you almost get the sense that you've heard these same melodies from this band before, but it is all well done, nevertheless. Again, the drumming is a little too high in the mix, but the guitars are able to cut through. This track is very reminiscent of old Burzum, especially as the pace slows down and a tortured scream leads into a section where nothing is left but a lone guitar. Nothing is wrong with this, especially since Varg is no longer interested in keeping his old sound alive.

The next song is "Horizon of Ego Annihilation", another mid-paced song that features good use of tremolo riffs to accentuate the power chords. The vocals are placed well, suiting the dreary aura quite well. As the riffs change, one gets the sense that something horrible will soon happen, and that the worst is yet to come. The song is very short, clocking in at just under three minutes, but its simple melodies are effective.

"Endurance of Supremacist Ritual" starts out with slow doom riffs, before the drumming kicks in and an eerily familiar guitar melody rises from the darkness. It should be easily recognizable to any fan of Norwegian Black Metal, as it was ripped straight from "Where Cold Winds Blow", from Darkthrone's A Blaze in the Northern Sky. Odd that Mikko took four years in between Clandestine Blaze releases, yet was unable to write a full album of original material. The song is not bad, but I preferred it the first time I heard it... on the Darkthrone record.

Finally, the album ends with "Discordant Howls of Tormented". This is another mid-paced track, featuring some rather miserable sounds, though not as dark as anything found on Deliverers of Faith. After a couple minutes, the song speeds up with blasting drums and fast tremolo-picked guitar riffs, soon joined by the haunting sounds of a funeral organ. This small addition manages to do a lot for the atmosphere of the song, which is somewhat strange to think of since Clandestine Blaze always managed to do so well with so little, in the past. The song fails to deliver the type of soul-crushing despondency that is alluded to in the opening moments, due to odd structuring and ideas that are never fully built upon. While possessing some of the best riffs of the album, the song clearly struggles at some points.

Much like Sargeist, Clandestine Blaze was dormant for several years. However, unlike his Finnish peers, Mikko was unable to return to form in a way that makes the listener feel that the lengthy wait was worthwhile. Falling Monuments has its moments, but one gets the sense that the brilliance that was touched upon with Deliverers of Faith will never again be matched, as many of the ideas that made that album what it was were stripped away and used for Deathspell Omega instead, leaving Clandestine Blaze with only the more primitive and less-inspiring material. The new album is solid enough and is by no means bad, but one would expect a bit more from a band that has been silent for four years.

Burzum - Fallen (2011)

Fallen is the eighth studio album from the legendary Norwegian Black Metal band, Burzum. Recorded and mixed during two weeks at Grieghallen Studios, it comes just a year after Belus and continues the sound that was established on that album. Varg Vikernes returned to his old ways of being very productive, and it should be no surprise to those familiar with the classic Burzum albums since they were all recorded in a short span of time. In the press release, it was stated that the new record would have more influence from the debut album and Det Som Engang Var, though the reality of the situation is that this is not as overt as many might have hoped. Of course, a similar thing happened with the last release.

It was in a 2005 interview where Varg made the announcement that he would record more music and that Filosofem was the album that most resembled the new material that he had in mind. This was mistaken to mean that his next effort would possess this same sound, which was neither what he said nor (probably) what he would want anyway, since that album had already been ripped off an infinite amount of times and was no longer unique to Burzum. What seemed to happen, with the passage of a decade, was that the music still managed to develop and elements of the classic releases were mixed with the strange atmosphere of Dauði Baldrs and Hliðskjálf, along with some new darkness that was now hanging above. While not exactly the same, it was clearly Burzum.

Belus was Varg's first release in eleven years, and it was the first proper Black Metal album released under the Burzum name since 1996's Filosofem. Expectations were extremely high, from the long-time fans to the legions who had discovered Varg's music during his incarceration. Whether they wanted to enjoy his music or to simply have more fuel for the constant criticisms of his character, Mr. Vikernes found himself the subject of quite a lot of scrutiny. Belus had a heavy task, as there was a lot of pressure to deliver something that would not only introduce the band to a new generation of listeners, but to somehow retain the old fans as well. Those who did not get what they expected with the last record have likely already wandered on to something else, and a great deal of the media hype has long since faded with the many months of silence in the Burzum camp. With the ice broken, Varg had more freedom and less pressure as he worked on the new material.

Fallen follows the path that was taken on the previous album, maintaining a similar feel and yet pushing the boundaries of experimentation. That is not to say that there is really anything present that would not seem normal or natural for a Burzum release, just that there is more of it. While there are a decent amount of similarities to the band's classic period, Varg has truly entered a new phase of his musical career and must be respected for his efforts. He could have been lazy and just made Metal versions of all of the tracks from the two ambient albums, before working on new songs. Instead, he used a few ideas and then moved on into new territory, keeping true to his roots while expanding the Burzum sound.

The album begins with "Fra Verdenstreet", which is a brief intro that hearkens back to the old days. It is not particularly useful, but does not detract from the proceedings and adds to the atmosphere of the album in its own way.

"Jeg Faller" is the first proper song, and it begins with the cold tremolo riffs that one would expect from Burzum. In a way, the long period of inactivity has allowed Varg to serve as a window to the past, being somewhat more pure than most of his peers that continued making music for the last two decades. Upon first listen, this song is slightly disappointing, as it is at this point where the realization hits that any similarities to Det Som Engang Var would not include the vocals. The tortured shrieks of the past are truly gone and shall never resurface, it appears. The use of clean vocals has increased and this takes a couple listens to get used to, for some. In particular, the strange spoken word sections seem to interrupt the flow of the song, at first. After a few listens, this feeling passes and it sounds more natural. The music begins with a faster pace, before transitioning to something a little slower. The track is rather dynamic, never sticking to one riff for too long and including a variety of ideas. The faster parts, at the beginning and end, seem to stand out the most.

The next song is "Valen", which seems to stand out as the most memorable of the whole record. It is more mid-paced and melancholic that the previous track. The riffs are haunting and epic as well, though never quite reaching the same disturbing levels of misery that were found on Belus. Once the new vocal approach has been accepted, one can really enjoy the performance given on this piece, as a lot of feeling is conveyed and a dark atmosphere created by the utilization of clean and harsh vocals. While unable to compare to the performances of "Black Spell of Destruction" or "En Ring Til Aa Herske", there are some truly miserable sounds emitted from the man once known as Count Grishnackh. The riffs are rather simple and repetitive, but technicality was never a key ingredient to Burzum's music, nor should it be. This is all about atmosphere, and that is something that this Norwegian band is well known for. The hypnotic melodies are enough to carry one to the dark realm where life is traded, willingly, for glorious death.

"Døden var her først
Glemselen seirer til slutt"

The next song is "Vanvidd", which is another one that features a strange use of clean vocals. The pace is much faster and the razor-thin tremolo riffs slice into your weakened flesh with ease, as the drums pound your skull into dust. After a couple minutes, the song slows down to the standard mid-paced Burzum death march that most longtime fans are used to. This lulls the listener into a a trance, preparing them to be mercilessly assault by the horrible screams that soon follow. This has a chilling effect and soon restores all faith in Varg's abilities as a vocalist, despite his development since the early 90s. Over the course of the song, even the clean singing seems less unnatural, though certain parts would still benefit with only the freezing cold riffs to command all of the attention.

"Enhver Til Sitt" begins with a brilliant doom-laden riff, with mid-paced drumming and spine-tingling vocals that soon accompany the miserable feeling of depression and melancholia. Hopeless tremolo riffs join the sorrowful bass lines in creating an aura of despair and all-consuming dread. The title translates to something along the lines of "each man gets what he deserves" and, in this case, mankind deserves horror and death. The lyrics are very poignant and thought-provoking, as well. Again, one has to be amazed how the Burzum sound seems to expand, subtly, while still remaining pure.

"Jeg fryser ikke mer
Jeg varmes av månelyset"

The final song is "Budstikken". which begins with somewhat of an epic build-up, with the mournful tremolo riffs accompanied by thunderous drums, before the song truly breaks free and moves forward at a faster pace. Somehow, this is slightly reminiscent of "My Journey to the Stars", and it is at this point where one can really feel the connection between new and old. The bass, which has been rather audible throughout the entire record, seems to stand out the most on this track, adding a layer of misery to the atmosphere. Strangely, this song is sorrowful while also being the most upbeat of the whole album. The clean vocals bring things back to a somber place, as the guitar riffs shift back to something darker and more life-draining. In a sense, the music gives the feeling of going off to war, to fight in a battle that you know will be lost, yet one that you must fight anyway. However, by the end, you simply wish for a cold grave to swallow your lifeless body and to be forgotten for eternity. The old ways are gone and the world is crumbling. All that we possess are fading memories of a dead age and the knowledge that what once was is forever lost. The roots of Irminsûl are rotten and dead. Existence is pointless and life itself seen as a curse.

Fallen ends with "Til Hel Og Tilbake Igjen", which is an instrumental piece that, at first, seems quite useless. When it was mentioned that the album would feature some ambient tracks, this was not what most fans had in mind. The first few minutes are more annoying than anything else, but the final moments make it worthwhile as a simple, yet effective, acoustic guitar passage manages to tear your spirit right out of the body and to slowly smother it into nonexistence.

In the end, Fallen is a worthy follow-up to Belus. It is a little more dynamic, in that the atmosphere includes more highs and lows, rather than the soul-shattering misery of the previous record. The use of clean vocals seems to be slightly overdone, but this may continue to grow on me as time passes. This is a solid album, worthy of the Burzum name, and there is no reason to doubt Varg's musical abilities at this stage in his career. His passion and creativity are as evident as ever, something all Burzum fans should be grateful for.

Darkthrone - Circle the Wagons (2010)

In early 2010, news came that Darkthrone would soon release their 15th studio album. In recent months, fellow Norwegian bands such as Gorgoroth and Immortal had released decent albums, and most in the Black Metal scene were eagerly anticipating the new Burzum record, as well. Coming on the heels of Belus, Circle the Wagons was already at somewhat of a disadvantage. However, it was also very off-putting right out of the gate.

Over time, many people had grown to accept Darkthrone's musical direction, whether they liked it or not. Personally, I slowly warmed up to the later albums and began to appreciate what they were doing. After Dark Thrones and Black Flags, I was really looking forward to the follow-up album. Yet when I first saw the album cover and some of the song titles, I was scratching my head and wondering what the hell had gotten into Nocturno Culto and Fenriz. Why would a Norwegian Black Metal band utilize Native American imagery? It has nothing to do with Metal, of any kind, and is certainly beyond the realm of what one would expect from a Scandinavian band. It may seem petty, but this alone made me a little reluctant to give the album a chance.

Eventually, I forced myself to listen to it and see what it had to offer. Strangely, as with some of the band's recent output, it was a little difficult to listen to. It has nothing to do with the quality of the music, since they have really put a lot of effort into these releases. However, they do such a good job of hearkening back to the old days that, after one of two spins, I'm overcome by the urge to go listen to old school records instead. In a sense, this seems to have been one of the intentions behind all of their records. In early interviews, they would claim that they needed to make a certain record just to get people to go back and give their attention to the old Bathory and Hellhammer / Celtic Frost albums. The difference now is that their inspirations are much more varied, at this point. On the video that accompanied the limited edition, they made clear which albums were essential to the recording of Circle the Wagons, including records from Agent Steel, English Dogs, Nuclear Assault, Puke and Motörhead. The thing is that it's not always as overt as what they had done in the past, and a lot of the influences are worked in more subtly.

Right from the beginning of "Those Treasures Will Never Befall You", it is evident that the band has picked up right where they left off with the previous album. The music is raw and energetic, with a really organic sound. Recorded at Necrohell II, this is the total opposite of what most bands are going for, these days. The production is rough, yet very natural. It's more reminiscent of releases from the early-to-mid 80s or even some 70s albums. While being filthy in a sense, it's still clear enough to hear what's going on and to appreciate the effort that has gone into the songwriting and the overall arrangement. The one element that will probably be most shocking is the use of clean vocals on the chorus. It takes you by surprise at first, but it manages to hook you after one or two listens.

"Running For Borders" starts out with a rather gloomy feeling and I would guess it to be another Nocturno Culto song, just based on the overall atmosphere. Whereas the previous song was more upbeat, this one is darker and is almost uncomfortable in a way. Not so much the main riffs, but all of the subtle things that are added. The solo is well done and it's very good to hear more of this, since the 90s seemed to usher in an age of rebellion against guitar solos, in a lot of areas.

"I Am the Graves of the 80s" picks things up with more of a Motörhead/punk vibe, and seems obviously like one of Fenriz's contributions. Naturally, the drumming is much more dynamic than on some of their classic albums, but they still serve the same purpose, never becoming the center of attention like in so much of modern metal. The drum beats include some punk rock patterns that have been noticeable on recent records. Of course, this leads to people dismissing these albums as Black/Punk or something, which is absolutely ridiculous. It's Metal, through and through, and the riffs support that, all the way. There are some punk influences blended in, but this is something that has long been associated with Metal. Just listen to the first Bathory record and then notice the similarities to Punk bands like GHB, for example. Looking to the middle of this song, the epic guitar riffs begin to bleed through and that is really the key feature of modern Darkthrone. They have absolutely mastered the art of creating riffs that are drenched in the old school feeling and that is something that is sorely lacking, these days.

The next song reeks of Nocturno Culto's songwriting, possessing a darker feeling. "Stylized Corpse" is the longest song on the album and begins with some epic and black riffs. The lyrics, as with most of the recent Darkthrone albums, are sometimes ridiculous and unable to really hold up to the early records, but the feeling and meaning are what counts, in this case. Similarly, the vocals aren't up to the same quality as on the Unholy Trinity, but both members do their best to suit the music. The vocals may sound strange to those that haven't followed the band's development, but they've basically regressed to a more uncontrolled Death/Thrash sound that adds to the raw and dirty feeling. The real issue is that the vocals are much more dynamic than in the past, and both Nocturno Culto and Fenriz show quite a bit of range and use that to their benefit. A more straight-forward approach might limit the music and make the songs more one-dimensional. As with several of the other tracks, this one finishes with a great solo and a classic ending.

"Circle the Wagons" is a rather short song, more upbeat and features a lot of clean vocals. Again, this is a little difficult to stomach on the first listen, but it manages to stick in your brain and grows on you after a while. It is one of those cases where the singing is just so awful it is appealing, in a way. There's a decent tremolo riff near the end of the song that could have made for a nice stand-alone track, itself, if they'd built around it. Nonetheless, this isn't a bad song.

The next song is "Black Mountain Totem" and you can hear some of Nocturno Culto's darker riffs returning to oppress the spirit of the listener. It's really strange how something so subtle could have such an effect, but that is the case. There's a great riff, a couple minutes in, that has an epic quality and there's also something filthy and grimy about it. Near the end, the pace changes and new riffs are introduced. The feeling is somewhat ruined by the fact that part of the solo sounds like an old Aldo Nova song, and this really kills the momentum that the song had built up. So, while it should have been an epic ending, it really just annoyed the hell out of me.

The song that follows is rather depressing, just based on the subject matter and the fact that the world economy has been so completely dismal in the last few years. It's not a bad song, but I've found myself strangely unable to listen to it.

"Eyes Burst At Dawn" was the first song that I heard from this album, and it's rather upbeat while having more subtle touches of melancholy in some of the riffs. While it isn't the best song on the album, it was a good one to use for giving people a taste of what was to come, as it sort of embodies the depressing and mediocre feeling that runs throughout the whole record. The best part of the song is the solo that comes near the end, and the strange and otherworldly tone that is achieved.

The final song is "Bränn Inte Slottet" and it begins with an odd chanting of the song title, accompanied only by drums. Slowly, this is joined by bass and then guitar, creating kind of a dark feeling. As the track progresses, some epic melodies are weaved into the sound, building up to the most absolutely depressing part of the whole album, around the three-minute mark. The oppressive feeling that this riff creates is like that of not being able to breathe or to feel your heart beating. It's the sound that one would expect to hear as life is winding down and death is taking hold... a painful death, solitary and utterly horrifying.

In the end, Circle the Wagons is a rather disappointing affair. It isn't a bad record, but it doesn't live up to the expectations that I had from Dark Thrones and Black Flags. Stylistically, it's quite similar in containing about 40 minutes of Blackened Speed Metal, with a wide range of old school influences showing through. However, none of the songs really reach the quality of many of those that were present on its predecessor. The first few songs are decent enough, but then it loses steam and never regains it. And while a dark atmosphere is always appreciated, there's something about several of the riffs on here that seem overly depressing, in such a way that they go against the feeling of the rest of the album. Perhaps, it will grow on me over time, but it definitely seems like a step down from the last record.

Watain - Lawless Darkness (2010)

Anyone following Watain for the past decade should be well accustomed to the lengthy passage of time that separates each of their releases. So, it was no surprise that the follow-up to 2007's Sworn to the Dark took over three years to come forth. There was a great deal of anticipation for the new record, and even the promotional campaign was proclaiming that, on 7 June 2010, Black Metal would be reborn. Such a statement was maybe a bit arrogant, especially seeing as how many bands have kept the black flame burning throughout the years. Not long before the release of their fourth full-length album, Lawless Darkness, the Reaping Death E.P. gave listeners a small taste of what was to come. Unfortunately, it was a rather disappointing affair and did not bode well for the full-length that followed.

It is difficult to believe that it took so long for the band to write and record this album, as it is quite forgettable. So much of it sounds like recycled ideas from Sworn to the Dark. Those parts that are more memorable come across as them trying to hard to write something anthemic that would appeal to a mass audience, thus seem really boring and contrived. The sing-along chorus of "Total Funeral" is enough to make Euronymous turn in his grave. This seems to be a direct result of the moderate success the band enjoyed since the release of their previous record. Occasionally, there are interesting melodies that seem to hint at the gloom and morbidity of their first two offerings, but these moments are brief and fail to make an impact. One of the few songs that might have the listener coming back for repeated listens is "Malfeitor", though it is only a matter of time before it becomes apparent that the most interesting riff of the song is a rip off of Burzum's "Jesu Død". It still possesses a decent solo, as do several of the other songs, showing that the band has become far more comfortable with their melodic side than creating anything truly dark or menacing. It really seems that these guys are doing their best to try to carry on the style that Dissection utilized on Reinkaos, to a large extent. There are momentary reminders that this is the same band that created Casus Luciferi, but it all ends up just being very disappointing. It is apparent, with the closer "Waters of Ain", that they tried very hard to create something epic but failed. It has its moments, but the more meaningful parts are mixed in with random riffs and passages that only serve to interrupt the flow of the song and kill whatever atmosphere they were able to build up. With the album clocking in at well over an hour, one gets the sense that much of this was simply for the sake of length and it can be a tedious listen, at times. Perhaps, the rigorous touring did not allow them to focus on the compositions as much as they would have liked.

Aside from the haphazard songwriting and rehashed ideas, one of the most detrimental aspects of Lawless Darkness is the production. As with their previous albums, it was recorded at Necromorbus Studio. However, this sounds is even more polished than before, hardly befitting the underground image that the band still tries to project. Then again, that may have died with the multitude of bizarre magazine covers. There is nothing raw or gritty about the sound of this album, rather, it is very clear and somewhat overdone. The drums are far too high in the mix, as well. Sworn to the Dark was the first step in this direction, but Lawless Darkness shows Watain completely abandoning any attempts to maintain an underground Black Metal sound and going for a presentation that is rather plastic and modern. It could be worse, but the production really does no favours for the music.

The lyrical content is a real turn-off, as it contains more of the Orthodox nonsense that seems to be so popular these days. Erik has even stated in interviews that he believes in the existence of the Judeo-Christian god, which should come as disturbing to real Black Metal fans. Many newer/younger listeners look to this band as the epitome of Black Metal, sadly enough, being introduced to this music through this trendy movement and being brainwashed. Then again, most people are sheep in the first place, so it's no surprise that so many of these kids are repeating everything that they read in interviews and professing to share the same beliefs. 

A lot of bands begin to stray from their path, after a couple albums albums, or their material simply lacks the quality of their past work. Watain is no different and have failed to live up to the potential shown on Casus Luciferi, in particular. That album, itself, owed a lot to early Mayhem and Dissection, but was done very well. It seemed that the band would go on to do great things, and to keep the old spirit alive, but fame and success appear to have been more important than artistic integrity. Lawless Darkness is a product intended to generate profit for the commercial entity that is Watain. They will continue to amass a large following, further dumbing down the music and wandering outside the boundaries of Black Metal while still using the aesthetics and rhetoric in an attempt to connect themselves with something that was significant. If you want pure Black Metal, stick to the old albums or follow lesser-known bands like Horna. The music of Watain is now more geared toward children and beginners. Any relevance this band once possessed is long dead and buried.

Sargeist - The Dark Embrace (2008)

In November 2008, well over three years since their last full-length album, Sargeist released The Dark Embrace, through Moribund Records. This 7" E.P. was limited to 1000 copies and featured the first new songs that the band had recorded in two and a half years. At the time, it was a welcome sign that this group was, indeed, still alive and functioning. What listeners can expect is another dose of raw Black Metal, retaining the old school approach and production of the early Second Wave, with the distinctive Finnish sense of melody.

The title track begins with a mournful riff that is not too far removed from Horna's more recent material. However, the overall feeling is still more identifiable as belonging to Sargeist. The more melodic sections blend well into the faster tremolo riffs and it really is reminiscent of Satanic Black Devotion, in a sense. The main theme is very memorable in a haunting way, and manages to remain embedded in your skull long after the music has ended.

"The Crown of Burning Stars" starts with an eerie intro that conveys a very gloomy and despondent feeling. In a way, this causes the listener to lower their guard, caught unprepared as the main riff then bursts from the darkness. The tremolo melody is more ambitious than those of the previous song, though maybe not as instantly memorable. It requires a couple listens before its full impact can be felt.

The Dark Embrace is very brief, especially for those of us who had waited three years for another album. In the past, the band didn't seem to give split releases the same type of attention as the full-lengths, since I always felt that there was something lacking. However, in the case of this E.P. they broke away from this, providing songs that are of the same high quality that one would expect from their albums. Sometimes, bands release an E.P. to keep the fans sated while they are working on a new record or just to keep their name out there. This is a rather obscure release, as it came in the middle of a five-year dry spell and was limited to so few copies. Whatever the case, it's a worthy addition to their discography and fans should seek this out, if at all possible.

Sargeist - Let the Devil In (2010)

Five years have passed since the last Sargeist full-length. Shatraug has been extremely busy during this time, releasing a large amount of material with his primary band, Horna. As for Sargeist, only a couple split albums and a single E.P. have stood as proof that the project had not been laid to rest. The wait has been, at times, quite excruciating. However, November 2010 marked the release of their third record, Let the Devil In, on Moribund Records.

Of all the high-quality bands to come out of the Finnish Black Metal scene, Sargeist has always been my favourite. From the first time that I heard Satanic Black Devotion, I recognized something special about this particular group. Shatraug's trademark songwriting style was present, but somehow this deviated from the material that he had written for Horna. For those that have not heard this band, you are missing out on something truly powerful. Working within the established boundaries of the Second Wave Black Metal sound, Sargeist manages to implement these well-known tactics and still create something that is unique and entirely identifiable as their own. And therein lies the magic of this band; they remain true to the roots of this musical style, paying homage to those that paved the way, and yet there are also elements that build upon this foundation and take the listener deeper into oblivion.

Let the Devil In picks right up where Disciple of the Heinous Path left off, in many ways. In fact, though the first two albums have quite a bit of sentimental value for me, this one may be superior in that the various tempos and riffs are arranged seamlessly, with no awkward changes or strange riffs to bridge from one theme to another. All of the same ingredients can be found, such as the mournful tremolo melodies, the mid-paced and somber riffs and even a few galloping sections that add even more to the old school feeling. Where there were a couple of oddly arranged parts on the previous record, which hindered the overall atmosphere, this is wholly absent from Let the Devil In. Everything fits together very well, and in no way distracts from the atmosphere being created. The feelings conveyed are those of darkness and a somber sense of despondency that permeates the majority of the riffs. Many of the guitar melodies stick with you after the first listen, but to fully appreciate the album it is best to sit in total solitude and focus on the sounds in utter darkness or only the light of a few candles. This is not mere background noise, it requires some effort on the part of the listener, and you will find that deeper concentration will allow you to fall deeper into the dark realm conjured up by this album.

The production is not far off from their previous releases. The rough edges of Disciple of the Heinous Path are slightly smoothed, and that is in the most minimal sense as I can possibly indicate. It is comparable to Horna's Musta Kaipuu; raw enough to suit the music while retaining enough clarity for the melodies to be heard. The sound isn't exactly bitter cold; more like the feeling of slight warmth from the funeral torches as one wanders through the frozen gravelands. The main focus seems to be exactly where it needs to be, and that is on the guitar riffs. The drums are just loud enough to do their job in keeping the tempo, but not so much that they would distract from the melodies. In other words, this is Black Metal done right. There is no double-bass dominating the album and carrying the music as in many modern releases. As for Hoath Torog's vocals, he gives an excellent performance and really suits the vibe of the music. In addition, his accent adds to the exotic feeling of the music, as one can notice when reading the lyric sheet and following along with the music.

Let the Devil In contains absolutely no filler. There are no intros or outros, no instrumental interludes, no songs that are overly repetitive for the sake of reaching a certain length. The material is remarkably strong, and this is evident from the early moments of "Empire of Suffering" as the mournful tremolo riffs envelope you in a whirlwind of hate and misery. The half-paced sections really do well to stick to your brain, immediately. This carries on with each successive song. It also becomes clear that the structure of the album was given a lot of attention, with each song placed precisely where it needed to be. Unlike most modern Black Metal bands that simply copy what came before with no original input, whatsoever, and just cram a bunch of noise onto the album, Sargeist have worked to carefully and methodically craft something beyond what mere impostors could ever hope to achieve.

There is almost a sense of beauty in the utter darkness that is evoked here. Listening to the main riff of "Burning Voice of Adoration", for example, almost seems to lull you into a trance and take you somewhere beyond the realm of the mundane, to a otherworldly dimension where things seem to take on more significance. Songs like "Nocturnal Revelation" truly embody an incredibly gloomy and menacing sentiment that few bands are capable of calling forth. "As Darkness Tears the World Apart" displays an epic and majestic sensibility in the guitar melodies, transcending the pedestrian approach of their contemporaries. The overall atmosphere is undeniably dark and projects a deep hatred for life and light. Also, as can be expected, there is a powerful disdain for the religious sheep and the Great Lie that is professed by believers of the Judeo-Christian mythology. This is rather typical for Black Metal, but you definitely get the sense that it is very genuine in Sargeist's case, rather than a product of style.

"I invert the cross of hope
And dwell in black despair
Every moment of every day
I'm blasphemy incarnate"

It is a crime that this band is not more well-known as they have continued to raise the bar for what modern Black Metal releases should be striving to accomplish; strict adherence to the traditions of the style and keeping the old school spirit alive, while building upon that foundation to produce something admirable and worthwhile. In the last year or two, several Black Metal bands have released impressive albums, including Burzum, Gorgoroth and Immortal. As good as those have been, none of them manage to capture the pure darkness and genuine feeling of Sargeist's latest opus. In a word, Let the Devil In is brilliant and it is highly recommended that you seek this out and listen to it immediately. Fans of their previous efforts will not be disappointed and those new to the band will be instantly converted.

Mordant - Momento Mori (2004)

Mordant formed in Sweden back in 1997. After releasing a couple demos and the Suicide Slaughter E.P., they finally got around to recording a full-length album in 2004. Released on Agonia Records, Momento Mori is a surprising slab of old school Black Metal that places them alongside the likes of Aura Noir, Desaster and especially Nifelheim, in keeping the ancient flame burning.

From the very beginning, it is evident that Mordant is firmly rooted in the spirit of the 80s underground scene. They play a very primitive style of music, and this album sounds as if it could have easily been released 15 or 16 years earlier. The songwriting is bereft of any real traces of modernity, which is a very positive thing. The arrangements sound very natural and nothing is out of place. With a variety of tempo changes, they do enough to keep things interesting while also maintaining a sense of uniformity. The songs are filled with memorable guitar riffs and vocal sections, from the refrain of the title track to the eerie solo in the middle of "Necrophiliacs from Darkness of Hell".

The production suits the style perfectly, being quite raw yet clear enough for the full scope of their creativity to be appreciated. For some, this may be considered demo quality, but this is exactly what this type of music should sound like. It's not overdone, yet it's not grating on the ears, either. The focus is primarily on the guitars, which is right where it should be. The vocal delivery is also in the rougher, old school style, being very harsh and not smooth or processed like so many modern bands seem to prefer. They are placed high enough in the mix for their effect to be fully felt, and add a lot to the atmosphere. There is a strain of desperation that permeates many lines, such as the refrain from "Right Hand of Lucifer". This approach adds so much to the feeling that is being conveyed, and lends a sense of purity to the whole affair.

As much as I like this band, it is impossible to ignore the fact that, at times, they sound just like Nifelheim. The overall style is pretty much the same and especially the way they utilize the creepy lead solos and guitar harmonies, such as the intro to "Message to Devastate". It gets to a point where one has to wonder if they simply share the same influences, or if they are drawing this inspiration from Nifelheim, themselves. I'm not one to claim that all bands have to be adding something entirely unique, as there is a strong necessity for maintaining traditions within Black Metal, and it's not as if there are 200 bands that sound just like this, these days. All in all, they do an excellent job with the style they've chosen to implement and I wish I'd known of the existence of Momento Mori during the lengthy break between Nifelheim's Servants of Darkness and Envoy of Lucifer. To be fair, Mordant displays a little less of an old Bathory influence, with more Thrash in its place.

In the end, this album proves that there is still quality music being released, though in relative obscurity. It seems that, for the most part, the only good new releases are those that carry on the legacy of the past. Pick this up and listen at full volume!