My Dark Lake - Tenebris Icon (EP) (2013)

Scour the internet for minutes, hours, even days. Without the aid of a translator (Sorry Bing and Google, we need a real translator here), there is virtually no information to be found on the mysterious My Dark Lake, a band from Ukraine that seems to specialize in avant ambient music, and symphonic inspired doom metal. That is as far as the trail goes. The web label hosted their latest work, an EP titled "Tenebris Icon," offers little more.But where their is curiosity, there must also be discovery. So armed with next to nothing, you hit play on what would be an experience, if nothing else, into the current state of metal in Ukraine. But what you have, hidden behind a purple tinged album cover and a bizarre mix of fonts is something that will, at minimum, make you tilt your head slightly sideways, squint your eyes and let out an intrigued "Huh." The three tracks that make up "Tenebris Icon" might not change the world today, but they might provide the framework for something far bigger in the very near future.

The album's title track, positioned right at the top, is an exercise in ambient drone, with very few real ties to the metal community. It accomplishes it's goal, though, through the use of haunting tones and sounds, providing what would be a chilling soundtrack to a haunted house or graveyard scene. It brings with it a gust of cold air, raising the goosebumps on your arm. But it is the second track, "Fantasia No. 1 In E Minor" that opens a door to what could be. The sweeping orchestral melody is beautifully orchestrated. When joined by a thick layer of drum and distortion, it is breathtaking. For as short as the track is, falling just short of three minutes, it is larger than life. It is one key element away from being a conversation piece. But the lack of that puzzle piece does not take away from what you have in front of you, nor does it distract from the final track, the funeral doom version of "Cold Slumber," a track that appeared on a previous album of the same name. With the tempo down to a crawl, and the ambient energy turned up to high, the execution here is marvelous. It strikes a familiar chord, the one that connects intensity and beauty at the hand. The production work, clear as can be, only adds to that union, allowing each piece to breathe while still finding symbiosis.

There will be those of you who would scoff at the notion that this album is truly metal. My own cohorts might be included in that. But while it might not be a full on metal album, doom or otherwise, there are glimpses of genius that give hope for the future. With the addition of a strong vocal presence to these three tracks, be it a growling male or soaring female, you would have a trio of songs that border on greatness. Simplistic as they seem, their symphonic roots take them well beyond the structure of most doom metal. And their layering and depth push them beyond the limits of ambient drone metal. So why not push it further? Why not take that giant leap into something outside their comfort zone, and put all of those pieces together? The result could be one of the most cold, spine shaking mergers of styles we've heard in quite some time. Get word out to Ukraine; My Dark Lake needs to take the leap, make a splash, and start the defining of a new wave of symphonic doom. 

8/10

Website - http://vk.com/mydarklake
Bandcamp - http://gv-sound.bandcamp.com/album/tenebris-icon
Facebook - https://www.facebook.com/GVSound

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Mor & Liholesie - Death Comes From The North (Split) (2013)

Rarely do splits have meaning. They are a showcase, as we've noted before, compilations more than concepts. But this particular disc is different. "This is more than just a split. This is real album just splitted for two sides. All music were written and recorded especially for this release. North and Death. MOR submitted single track consisting of 4 parts (20 minutes) in their predictable “progressive” and melodic style. Two cold ambience by Siberian LIHOLESIE at the other side. No rehearsal, unreleased and other lousy shitty records. All recorded in one studio, at the same sound, that all were looked like it was a concept album as in audio part and as in design!" That could be taken as jargon, or musical rhetoric used to sell a few more digital downloads. But after listening to this offering, all two tracks and six individual parts, it seems clear that it speaks truth. They have a symbiotic relationship; they just fit together in that way. And "Death Comes From The North" is an interesting take on a concept split.

Mor's contribution to the split, the nearly twenty minute epic titled "Kola Kross," is an ambitious as it is epic. The melodic overtones play a starring role throughout the track, due, in part, to their layering in the mix. That mix, for better or worse, lacks a true clarity. This leaves some aspects tuned far more clearly than others. The guitar work is deft and, at times, hypnotic, while the vocals vary anywhere from spoken phrases to aggressive yelling. They lack true identity, something that hinders the track from ever gaining momentum. There are distinct parts here, four in total, that all boast very different sounds. The second chunk, carrying the subtitle "Raven Dark," carries with it a post metal tone. But once again, a lackluster vocal performance, this one bordering on garage rock, brings the entire mix down. When the guitars are allowed to breathe (i.e. sans vocal), they are more than enough to carry the load. The screams and growls, particularly around the ten minute mark, are little more than heavy exhales. The marriage of opposites here, with melodic instrumental and grating vocals, just simply doesn't work. That becomes the main theme of all four subsections, and may be a cry for an all instrumental effort.

Liholesie, on the other hand, does not stray from their stated goal. Dark, ambient sounds cascade through your speakers for fourteen minutes, bordering on majesty, and never quite achieving sheer terror. Bizarrely, this sort of subtle ambient music is free flowing and easily enjoyable. It moves quickly, even with minimal inputs. There is something in the way it is pieced together that keeps it interesting from start to finish. The instrumentation is impressive, incorporating a wide variety of tones and sounds into one crystal clear opus. Both parts of this whole could be used for a myriad of purposes, from march to movie score, and everything in between. The second half, aptly dubbed "Endless Expance of Coldness and Ice," is haunting in nature, and brings a cold chill to your body.

The concept is clear, and the two bands are one collaboration away from a masterpiece. But while one is at the top of their game, the other is struggling for identity. Liholesie have a solid grip on the ambient sideshow effect, providing a moving and rich tapestry of minimalist sounds and noise. It may not be a multi-platinum effort in the making, but it makes sense. Mor, on the other hand, have yet to find their voice. That could be taken metaphorically, but it might also be the best literal representation of their contributions to the split. Despite a fairly impressive musical performance, the lack of a strong vocal presence downgrades their sound considerably, often leaving it sounding as if the vocals were tacked on in haste. But outside of these shortcomings, these two acts share a lot in common. And that is why, more than anything, this split works. The similarities and differences are highlighted throughout, strength next to strength, and weakness next to weakness. They are different chapters of the same book.

7/10

Bandcamp - http://myrkrmusikk.bandcamp.com/
Official Site - http://myrkr.org/

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So Hideous - Last Poem​/​First Light (2013)

Sometimes, the best albums are the ones you stumble on unknowingly. We have been fortunate enough to receive promotional copies of albums from all over the world. Some are good, some are not so good. But when we are charged with writing a review for something that was submitted, there is an element of "work" added to the equation. Meeting deadlines, making sure our reviews are as well written as we are capable of, and even using social media to spread our reviews and opinions can be a lot of time and effort. But when you find an album, all on your own, something special happens. Listening to the album, digesting it, hearing it again and again until you have all the information you need to write a comprehensive and informative review becomes fun again. So Hideous can now be added to the short list of bands that have made me sit back in my seat, and just let it all happen around me. Their new album, which was found by pure chance in a routine sweep of the internet, is unlike other things we've heard. "Last Poem​/​First Light" is something special.

Once the first scream washes over you, some five seconds into "Rising," there is simply no going back. You have been washed away in a chaotic sea of blackened drum beats and well utilized keyboards. There is a density to the instrumental here that may seem counterproductive, yet it somehow manages to equate to something far more grandiose than one would imagine. Even when the drums seem out of control, the crying ambient noise always brings them back. The last minute,  with the crackling and humming of feedback seems like the haunting white noise of a dungeon. It becomes a recognizable pattern; building from a whisper, and eventually returning to it. But it isn't all massive kick drums and distortion in between. Beginning with "Stabat Mater," the symphonic element takes on a role of it's own. It sets the stage, quietly, for an explosion of epic proportions. I would be remiss to fail to note the presence of hardcore tendencies in the mix, but their unification with black metal seems almost too good to be true. Each well placed scream adds to the ever deepening soundscape. A magnificent piano outro returns you to that base point, this time erupting with the force of a volcano as "My Light" begins.

The climbing keyboard notes here are incredibly rich, despite being so far back in the mix. Organized chaos reigns supreme, a bombastic sonic assault that runs counter to everything you thought you knew about black metal in all it's forms. To be replaced soon thereafter by a sweeping orchestral melody seems impossible, but they do just that; it is short and fleeting, but a clearer example of black and white contrast would be impossible to find. If there was only one track you could use as a weapon to spread the gospel of So Hideous, "Rhapsody" would be it. The fusion of elements is now complete, finding a striking balance here unlike anything I've ever heard. Whether you find your solace in the neverending battery of drums, or in the atmospheric keyboards that rise and fall behind them, something will catch your ear. It would be a challenge to find a segment of music more compelling than the last minute of this track.

What's even more stunning is the way they follow it. The sound of "Last Poem" is immense; The sound waves would stand a miraculous mile high if your screen could contain them. Every kick drum slams into your skull, every scream rattles your inner ear. But amidst all of that, you can find serenity and calm in the use of strings. You will be swept up in the wonder of it all, captivated by the constant shifting and changing of this single song. When it cuts out to silence, only to return with the most minimal of synthesized sounds, you might be concerned that you've lost your sense of direction. But fear not; it really is every bit as beautiful as it seems. Yes, with the screams, blasting drum beats, squealing guitars, and everything, it is still awe-inspiringly beautiful. How you complete this masterpiece would be far beyond my mental reach. But they do it with ease, allowing "glory" to rise, to build, to take shape, and then to fall. How this combination of sounds works here is a complete mystery, but even note on the keyboard seems to sync up with every kick drum and distorted riff. They all work... somehow.

It's hard to keep all of our label partners and sources straight. Which albums came from who, who represents which bands, and so on. It is up to s to do that due diligence to make all the pieces come together. It's what we do, as music lovers, for all of our favorite bands. So Hideous may have a name that almost told me to shy away, but they have a sound that is now engrained into my head for an undetermined length of infinite time. They have a sound all their own, which is nearly impossible in this day and age. But they've done it here, and in a way that is not only impressive, but exciting. They are doing something outside the realm of any one genre, and they are doing it without hesitation or pause. And in doing so, they have truly joined a very limited list of bands that have redefined a sound or genre for me. Malnatt opened our eyes to what black metal could be. Blizzard At Sea made sludge an office favorite. And So Hideous has now taken symphonic post-black melodic hardcore and given it a face.

9.5/10

Bandcamp - http://sohideous.bandcamp.com/
Facebook - https://www.facebook.com/sohideous

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The Monarch - World Without End (EP) (2013)

It's never easy to separate inspiration from the finished product. Like the Norwegian black metal bands who stand so defiantly against the presence of Christianity in their country, we can choose to embrace or deny their motives and beliefs. But it isn't always religious and political extremism that we must separate; for those who do not belong to the church in any capacity, even something as harmless as a love of your God of choice might be difficult to swallow. And despite what stereotypes may indicate, there are a growing number of metal bands, probably in the millions, that use their love of God as inspiration for their own music. The Monarch, a one man project from Vancouver, is not one that will hide what the inspirations for the name and the music came from. Jesse Janzen has seen his work garner praise from Catholic and Atheist alike, something that should, if nothing else, prove that the power of music is a great one. On his new EP, "World Without End," Janzen offers every fan the chance to "join the waves and scream your praise." Embrace or ignore the message, the music is worth the effort.

The haunting hum of "The sky rolled back like a scroll" could never been more fitting, as if rolling back to unveil the album to come. The symbolism is not wasting here, the whine of strings calling out. But it is merely the opening, allowing "Before the Throne (a multitude without number clothed in white)" to grow right before your eyes. With each fading guitar chord and subsequent crack of cymbals, it grows. But the real surprise comes in the first explosive sludge passage, seeing Janzen scream over the top of a down tuned distorted guitar. The subtle melodies, sometimes too subtle, are coated in a thin layer of screaming guitar, hammered home with each single snare hit and plucked bass string. It's in these moments, the transitions from screams to serene that Janzen best expresses himself. His versatility, though, shines brightest on "Endless Rest," a track that rises from solemn piano keys. It's beauty is in it's unwavering simplicity, but also in the fact that is unapologetically mellow. It is the final track, however, that is the most difficult to digest. On "For a thousand years (I will lay my face on the ground before Thee)," Janzen wears his heart on his sleeve, leaving behind the understated instrumental, and crooning softly over a more progressive one. It is also here that his religious dedication comes through clearest.

We are all adults; at least that is what I would like you to believe. So, being adults, we should easily be able to separate our beliefs from music. We know that listening to black metal doesn't make you a Satanist, or listening to death metal doesn't make you a murderer. Music is art. It's with that assertion that we can enjoy what Janzen is doing with The Monarch project and name, giving us something more than the stereotypical Christian rock. Sure, a heavy dose of distortion can go a long way to mask that. But Janzen doesn't cover up his beliefs with a few extra notches of reverb, or even an extra heavy scream chorus. He lets it come through without fail, without any desire to muffle it. And if your own religious views mirror those of Janzen, that adds an extra layer to this album that you can identify with. But should you be Atheist, agnostic, Buddhist, Jewish, or any of the other religious affiliations, don't turn away from it so quickly. In the first three tracks alone, you'll find a great deal of depth. If you can put aside your own prejudices, for twenty some odd minutes, "World Without End" is worth an open mind.

6.5/10

Bandcamp - http://themonarch.bandcamp.com/
Facebook - https://www.facebook.com/heisthemonarch

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