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Monthly Archive for August, 2009

Altar Of Plagues – White Tomb (Profound Lore, 2009)

Black Metal to me is similar in a way to ambient music. It is about creating an atmosphere, soundscapes to allow the listener to evade his daily hassles, to detach oneself from the surroundings and immerse oneself in a “sea” of dark and depressive sounds, long riffs, shrieks, fast paced drumming and occasional interludes and shorter tracks filled with brooding effects to enhance the experience. Of course each band has their own take and creates their own variety, but there is a common basis, a shared vision that lies at the heart of this music.

Altar Of Plagues from Ireland know quite well the basics of this art and builds very convincingly on them, creating a crushing, compelling and varied sort of black metal with progressive leanings. Continue reading ‘Altar Of Plagues – White Tomb (Profound Lore, 2009)’

SONIC FRONTIERS IS SEEKING NEW NEW WRITERS!

Are you an experienced music journalist or a newcomer looking to try your hand at reviewing/interviewing? Are you self-motivated, thoughtful, creative and appreciative of music of all genres/styles?  If the answer to any of these questions is yes, Sonic Frontiers.net needs your help!

We are currently looking for motivated reviewers/interviewers to produce original content on a weekly/monthly basis!  Of course, you won’t be paid for your efforts, but you will most likely score some free music, and have the satisfaction of seeing your work posted on a site that has a worldwide readership!

For more details, contact me at jjhaun@gmail.com or http://www.myspace.com/joshhaunofficial

Delirium – Il Nome Del Vento (Black Widow, 2009)

Originating in Genova, Delirium rose from the band Sagittari in 1970 and went on to release three progressive rock albums in the 1970s’, Dolce Acqua, Lo Scemo E Il Villaggio & Delirium III: Viaggio Negli Arcipelaghi Del Tempo. They disbanded in 1975. They reformed in 2003 with two new members and released a live album in 2007 and this album reviewed here in 2009.

This album flows beautifully from one album to the next as the song seem to connect to each other, as if not ending but serving as the starting point of the next in line.

Starting with a reprise of Dio Del Silenzio from Delirium III, the album goes on to the title track that presents the string quartet that plays along with the band. This is a beautiful, evocative and spellbinding melody, rich sounding and captivating. Continue reading ‘Delirium – Il Nome Del Vento (Black Widow, 2009)’

Infernal Stronghold – Godless Noise (KVN, 2009)

On their official website, Infernal Stronghold refer to themselves as “Extreme Championship Black Metal”.  For those not in the know, this is a reference to the Philadelphia based pro-wrestling company Extreme Championship Wrestling, or ECW.  Before WWE impresario Vince McMahon got his hands on the company and subsequently ruined it, ECW was the gnarliest, filthiest, bloodiest group of pro-wrestlers the United States had ever seen, highlighted by the likes of Sabu, Cactus Jack, The Dudley Boyz and Raven.  Each and every ECW show was an orgy of blood, guts, tables, ladders, chairs and thumbtacks that would probably make the average John Cena fan cry.

Continue reading ‘Infernal Stronghold – Godless Noise (KVN, 2009)’

Escherbach – Cycles (self-released, 2009)

Escherbach is a trio from Indiana, and play mostly instrumental energetic progressive rock. Its sound is crispy and clear, fresh and vibrant. Neil Carmichael (guitar), Minkis (bass) and Sean Norris (drums) were in a band called Eargazm, with singer Mike Levee. However, when Levee left town in 2007, the remaining three musicians decided to go on as a trio, play and write new material and renamed themselves Escherbach, after artist M.C. Escher and composer Johannes Sebastian Bach. They then recorded a demo with their friend, Nicholas Schmidt, a musician as well as the engineer and producer of this album. When returning to it after a year they decided to release it as Cycles in 2008.

While you might think, “oh it’s a demo, or just some weak recording session of an up and coming band, so it’s not worth my time”, I’d ask you to reconsider and keep reading. Production-wise, this doesn’t sound like some cheap made demo, rather like a band who plays well and know what music they want to make and what sound they’re after. Continue reading ‘Escherbach – Cycles (self-released, 2009)’

Senogul – Aural Impressions Concert for Instrumental Ensemble (Margen Records, 2009)

Images-evoking sounds by Senogul

As the name of this release suggests, we are presented with a variety of sounds to trigger our minds to imagine as we hear it and to go on a mental journey guided by Senogul’s music.
Do not choose to listen to this album because you liked the previous one. You’ll find that not much resembles that one. Instead, listen to this if you’re intrigued at the possibilities and the potential that Senogul has shown in their previous output and if you’d like to hear them in a different context; that is, in a creative and free-spirited setup.

As with their previous album, this release too is varied in style, though it’s quite different its predecessor but in a good way.
The album embarks on a world tour with the influences and sounds it incorporates into it: from African tribal rhythms and chants, to Indian music, to Spanish and South American flavoured melodies to abstract and free form avant-garde and electronic experimentation. The band employs a wide range of instruments and not only that but manages to conjure up and create a fascinating array of sounds and effects. Continue reading ‘Senogul – Aural Impressions Concert for Instrumental Ensemble (Margen Records, 2009)’

Malfeitor – Incubus (Agonia, 2009)

When it comes to the music world at large, the word ‘Incubus” will forever be associated with an extremely crappy faux-alternative rock band from California.  But don’t let the somewhat unfortunate title of Malfeitor’s second album fool you, for the music on display here is anything but radio-friendly drivel.  In fact, the storming black metal assault these Italians whip up on Incubus would probably make Brandon Boyd mess his pants if he ever laid ears on it.  This is speedy, straight-up black metal with an “if it ain’t broke, don’t fix it” attitude that results in some of the most solid “traditional” black metal to be released yet this year.

Continue reading ‘Malfeitor – Incubus (Agonia, 2009)’

Uphill Work – Counterclockwise (Soyuz-Music, 2008)

Some time ago Lev Gankine posted a link to his band’s myspace at the Progressive Ears forum. Since Lev has a very wide knowledge of music (prog and otherwise) and since we seem to share a passion for similar styles of music I was intrigued and decided to take a listen to Uphill Work. On their myspace one can find 6 of the 9 songs of their album, Conuterclockwise. After posting my favourable impressions of the music on that thread that Lev opened, he suggested sending me their album for reviewing to which I gladly accepted and here it is.

Before going into the review, I’ll briefly introduce this group. Uphill Work is a Moscow based group that started in 2002 as the instrumental duo of Konstantin Benyumov and Lev Gankine. They released their first album, Cock-a-Doodle-Do, in that same year. After lineup changes the music changed as well and in 2005 the band invited bassist Evgeny Semiletov and a year later with drummer Konstantin Provorov. The current album was recorded from August 2007 to May 2008 and released in that year. Continue reading ‘Uphill Work – Counterclockwise (Soyuz-Music, 2008)’

Interview: FALLS OF RAUROS

Although Maine is not exactly known as a hotbed of underground metal, one of the most pleasant blackened surprises I’ve come across in a long time just so happens to hail from this isolated state.  The mysterious quartet known as Falls of Rauros create epic yet earthy compositions that owe equally to the cascading fuzz of prime Burzum and the unsettling neofolk of the likes of Sol Invictus or Death in June.  Their sophomore recording, Hail Wind and Hewn Oak, is a musical ode to the natural beauty of their surroundings and a steadfast rejection of the encroaching modernism that threatens it.  I could write volumes about this stellar release, but deciding it would be much more insightful to go straight to the source, I caught up with Falls of Rauros spokesman Aaron via e-mail to discuss the band’s singular approach.

Sonic Frontiers: How did Falls of Rauros get started?  What was the initial inspiration behind the band’s approach?

Aaron: It began with just two of us. The intent upon our creation was to play more of a “blackened” neo-folk. We would come up with ideas and record them on the spot, very loose and rather formless; Semi-improvisation if you will. This took place in a small unheated shack of sorts in our home town. We made use of whatever equipment we had at the time and recorded in a primitive manner. We quickly began to incorporate more black metal into our sound, which led to a series of recordings now compiled as “Into the Archaic.” Everything during that period was spontaneous and scarcely rehearsed.

Continue reading ‘Interview: FALLS OF RAUROS’

Kurai – s/t (Altr0ck, 2009)

The adjective Dark, to which the word Kurai references in Japanese according to the press release of this album, conjures many emotions and feelings. But in this case Kurai is not supposed to mean so. And so, when coming to interpret such a word, what approach would you use?

In the case of Kurai’s first release, there is much to absorb and quite a variety of moods and sounds. In the opener Herbert Quain they present abstract soundscapes, free form jazzy playfulness, obscure and menacing eerie atmospheres, all very well executed and presented to the listener. This track reminds me most of Yugen’s album, Labirinto D’acqua, which is a splendid release also on the Altr0ck label.

Ambient yet disturbing: such is the general mood here. One feels as if some monster is going to come out of the dark at any moment and attack a vulnerable listener. Continue reading ‘Kurai – s/t (Altr0ck, 2009)’

Embrace of Thorns – Atonement Ritual (Nuclear War Now!, 2009)

There was a time when death metal truly sounded like death.  Instead of suffering from overwrought production schemes and an emphasis on often mindless technicality, death metal was violent, dark and primitive, a sound permeated with a sense of impending doom and fear of the unknown.  Death metal made the listener feel as if life truly is meaningless and illusory, “only death is real”.  In a time when few modern bands are able to capture these ancient feelings, Embrace of Thorns serve as a gasping breath of fetid graveyard air with their second full-length, Atonement Ritual.

Continue reading ‘Embrace of Thorns – Atonement Ritual (Nuclear War Now!, 2009)’

Destroyer 666 – Defiance (Season of Mist, 2009)

It’s been about six years since we last heard from the Australian antichrists of Destroyer 666.  Arguably one of the forefathers of the modern black-thrash movement, D666 has been sorely missed during their extended leave of absence from the scene.  Luckily, Defiance is well worth the wait and then some, delivering nothing less than a 50 megaton payload of the band’s patented barbaric-yet-catchy blackened thrash to the undeserving masses.

Indeed D666 may have been gone awhile, but their sound is still every bit a weapon of conquest.  Armed with a knack for balancing ferocity with a strong flair for melody and memorability, the band has remained leagues ahead of the copycats that have followed in their bloody wake during the intervening years.  Having already released bonafide classic albums such as Phoenix Rising and Cold Steel For An Iron Age, many would argue that KK Warslut and his band of mercenaries didn’t have anything left to prove with Defiance, but you’d never know that from listening to the album.  The band sounds just as bloodthirsty and razor-sharp as it did years ago.

Continue reading ‘Destroyer 666 – Defiance (Season of Mist, 2009)’