Gukurahundi - An Apparition In Nocturnal Splendor (EP) (2013)

Put yourself into this scenario: form a band, write and record and EP, and release it, all in the period of months. Some will think this is an easy task. Those who have been through the process know that it is, in fact, an undertaking that requires a great deal of dedication, not to mention a reservoir of talent and creativity to fish from. When Lawrence Nielsen and Pete Colucci came together under the banner of Gukurahundi in late 2012, it wouldn't take long for things to take hold, and music to come to the masses. Released in April 2013, their debut EP saw the two bring black and death metal together. It isn't a new style, or even a new take on an old formula. But their insistent grooves and unrestrained energy makes for a lethal combination, one that can be felt in all five of the tracks provided here. With guitars as far as the ear can hear, a voice that will frighten children and the elderly, and a a drum beat that could open the Earth, "An Apparition In Nocturnal Splendor" is the first in what will hopefully be many albums to come.

If subtlety is your endgame, it'd be quite evident that you have stumbled into the wrong part of the neighborhood. The title track is a euphoric blitz, a grinding attack that refuses to be dismissed or pushed aside. Most notably, the combination of speed and precision in the verse and chorus sections is a beacon for those who appreciate the more dire arts. But buried beneath the machine gun drums and high speed riffing is something a bit more substantial. Rarely do you find a groove in blackened death, and there is a driving one here, tucked snugly into the bridge. Perhaps the most interesting battle going on is the one between the music and the mix; an ongoing tug of war between a flat mix and a vibrant output. Even "Dethroned" isn't immune, though the effects are isolated to the opening moments. If anything, it gains steam as the track goes on, showing signs of much needed versatility in both vocal and instrumental. Vocalist Pete Colucci wanders from the high tuned screeches, adopting a deep growl that may loosen a few bowels along the way. It reveals depth, and, in turn, opens doors.

But much like the opening shots, "The Anarchist" removes all traces of restraint, opting for an in-your-face- combination of wild riffing and grating vocal lines. Guitarist Lawrence Nielsen, responsible for all of the string work on the record, is his own best friend and worst enemy. His leads are crisp and clean, driving the track forward at breakneck speeds. But his rhythm work doesn't always elevate it the way it could. The outro here is a good one, single riff and ambient waves. A step away from the edge, the band backs up on "Sombre Dreams To Gaze Upon," a short interlude that removes the raw element from the mix, and injects and bluesy emotional investment, captured through Nielsen's solid guitar work. It seems simple, but it is a far more rich minute and a half than one listen would indicate. But after all, it is exactly that; it's the breath before surfacing, or the breath before drowning. The flow of the album is no surprise, really, but the jump from soothing to savagery is still a shock to the system. If the previous track is a light stroking of the hair, "The Carcass Of Christ" is the immediate chop to the throat. Drummer Cameron Zuccarelli isn't in the business of clap beats or click tracks; his hands at the sticks furthers the stomping groove and thrash that blossoms in full on the finale.

One listen to the album, and you would be hard pressed to see through the top layer of distortion and reverb to the depth below. But when dealing with Gukurahundi, you can't be deterred so easily. At first listen, this is a text book blackened death album, screams aplenty and blast beat heavy. And yes, it is all those things. But it is also more. There are hidden grooves scattered throughout the disc, just below that top layer, that help it to stay afloat throughout the course of five tracks. It isn't a perfect combination, though, as the tracks do, at times, sound one dimensional and limited in their reach. But there is room to improve and room to grow, something that will undoubtedly happen over time and with more experience under their belts together. In fact, with new material being written and demoed, it might not take long for this three piece to realize their full potential. Regardless of where they go from here, this is a strong debut in a subgenre that isn't easy to break into. Going forward, "An Apparition In Nocturnal Splendor" will be a measuring stick for future efforts.

7.5/10

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

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Absidia...In The Shadow - The Storm (EP) (2013)

For those who haven't had the pleasure of experiencing it first hand, there is a tremendous amount of work and dedication that goes into the pre-production process. Writing, arranging, adjusting, rearranging, rewriting; It seems like a neverending battle before you ever get into the studio in earnest, to actually put your music to digital media. Absidia...In The Shadow, a Moscow based raw black metal band, undoubtedly put in the hours to get their music ready for release. But it is what happens when the record button is pressed that people remember, not the work that went in beforehand. So despiite their best efforts, the EP that makes it's way to you, titled "The Storm," probably isn't what they intended it to be. Two tracks, ten minutes of raw but symphonic-tinged black metal that has all of the necessary elements to put down a classic offering, and yet fails to highlight anything along the way. One layer, one dimension, and a lack of a star leaves this offering feeling flat and awry.

Leading with the title track, "The Storm," there is certainly a heavy reliance on symphonic and synthesized backings here. It is a simple flow of clean guitars and drums, elevated by some brilliantly restrained keyboard work. What makes it successful, even with a tight two minute window attached, as the haunting feeling it leaves as it rolls into the second track, "World Of Rain." With vocals now present, there is a certain roughness to the mix, an added raw element that, somehow, actually generates depth. It is bizarrely alluring, despite lacking an element that takes command of the mix. In fact, it isn't until past the three and a half minute mark that the guitars make themselves known as more than just a layer of distorted chords. They jump out of your speakers for a brief solo, only to step backwards into the fray. That is where the major flaw of the EP comes to the forefront; with no clear leader, the track often feels muddled, despite having a handful of elements at their disposal. Isolating each one with repeated listens, there is plenty going on. But the mix let's the band down.

When Robert Burns wrote "The best laid schemes o' Mice an' Men, Gang aft agley," never could he have known the universal application of his words. Better known to the current generation by the English translation, "the best laid plans of mice and men often go awry," it can be placed next to any event, any piece of art, any situation in life. Absidia... In The Shadow must known all too well the depth of it's meaning. Their intentions on this EP seem righteous at their core; symphonic inspired black metal, with a raw edge. And maybe that is what some people will hear when they hit play. But where "The Storm" fails to deliver is in a need for a center stage player. Is it the keys, the guitars, the vocals? Aside from a thirty second blast of wailing guitar solo, there isn't much to hang your hat on when the last notes fade. And that, more than anything else, is where this two track EP goes off the rails. The set up is there, the actors are ready, but the spot light never comes on.

6/10

Official Site - http://vk.com/club27180188
Myspace - https://myspace.com/absidiaintheshadow

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Alcest - Shelter (2014)

It's no secret where Alcest stands on the list of this humble blog and, in particular, this humble writer; mastermind Neige has secured his project a place in the "can do no wrong" arena. But there has been a tectonic shift in both sound and concept, one that has changed the very landscape of Alcest's music. And with the new year upon us, a new album has been readied, moving the band further down the melodic, almost soothing path that came to center stage on "Les Voyages de L'âme," almost exactly to years ago. While the pained screams and black metal homage has not completely vanished, it is now a background player; a shadow to the well lit body of the music itself. This does not speak to the sounds quality, of course, but its appeal has evolved and, in the opinions of some, alienated the core audience Neige has enjoyed over his lengthy and extensive career. It was inevitable, of course, for things to move down the line. But on "Shelter," Alcest reel in their art metal tendencies for a trip through the divine' with some speed bumps along the way.

Rather than the brooding, moody tone of past works, "Opale" starts on the lighter side of the spectrum, a delicately strummed and darting set of riffs cascading alongside a beautifully melodic vocal. What the band gives us in emotion, it regains in accessibility; it would be a crime not to find yourself swaying to the beat. It's light and fluffy in texture, and it's simplicity that keeps it fresh. Forming the bridge between tracks, "Wings" is sullen and airy, a reprise of the previous structure, albeit stripped down to a bare bones minute and a half. It stirs the pot in a barely noticeable way, bringing about a more intricate approach in "La Nuit Marce Avec Moi." Singing in his normal French, Neige has a way of crafting his vocal melodies to supersede language barriers; whether or not you speak French, you feel as though you can understand. What is missing here, though, is a sense of contrast, something that was always achieved on previous works by a short screamed passage, or high speed drum work. You will begin to expect that first sign of aggression, sitting in anticipation as the first clean chords of "Voix Sereines" trickle from your speakers. But this is neither the time nor the place for that, as Neige relies heavily on the structural integrity of his melodies, rather than the short bursts of bleakness.

Even the extended intro to "L'Eveil Des Muses" feels like it is hiding something just below the surface. The drumming becomes more insistent, each tap of cymbal and snare cutting through the mix with a snap of energy. It's as though the mood has completely changed, leaving behind the sugary sweet in favor of the uptempo melancholy. The tempo builds, but with only a bevy of repeated chords and melodies, it fails to get over that final hump, rolling backwards to where it started. And therein lies the logistical problem the album faces, as it simply lacks the burst to get over the top. The title track is beautiful, not to mention fitting of the title, but it only adds to the wheels spinning in the mud, lacking any forward motion or advancement of the albums theme. And then "Away" happens. Rest assured, this is the same man, the same band you're hearing, but in a way that you never expected, and likely never wanted. Gone are the poetic French wordsmiths and the distinctly moody lyrical themes. In their place, a lyric sheet with English words that fail to deliver any sort of emotional investment. It is, sadly, a bland and uninspired effort. In an album of a different arc, "Delivrance" would be a fitting and enjoyable finale; but without a standout moment to look back on, it simply does the best with what it is. It bends and sways in profoundly beautiful stanzas, but it builds only to a simmer, rather than a rolling boil of distortion, snare beats and energy.

It is difficult to separate what you want from an album from what you inevitably get. Perhaps Alcest are now victims of their own skill, their fans growing to expect too much with each effort. Or, more likely, they have outgrown the sounds of "Le Secret" and "Ecailles de Lune," and have moved on to a new, and wholly separate, side of the music world. To say this album is disappointing is unfair, nor does it tell the whole story. There is a lot to like scattered over these eight songs, but far less to love. From a lesser band, this album might even be seen as the next step towards greatness. But for an established band, and a top tier artist in Neige, it won't be able to hold up when compared to the rest of the back catalog. The saving grace, if there is one to hang your hat on, is that these songs, for better or worse, are a live show waiting to happen. Having seen and heard what can be done with these delicate numbers on a small venue stage, it leaves a great deal of hope for the future of Alcest, as a studio and live. "Shelter" might not be the album you wanted, or the album you needed right now; but it is the album you get.

7/10

Official Site - http://www.alcest-music.com/
Facebook - https://www.facebook.com/alcest.official

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An Autumn For Crippled Children - Try Not To Destroy Everything You Love (2013)

How can anyone outside of the band itself ever say which piece of work best represents their sound? Influences and inspiration change, and each album a band releases should represent that. An Autumn For Crippled Children are not the same band they were in 2010, at the time of their debut album. That band no longer exists; they've grown, changed, evolved into the modern melodic black metal band they are today. Sure, you will still hear fleeting moments of the band that once was, but even those are different. You can never go back in time to rediscover that sound. And thankfully, in this case, you wouldn't want to. Having fine tuned every aspect of their music in the last three years, this is a band looking forward, not backwards. They've introduced new wrinkles to familiar formulas, pushing themselves toward the next evolutionary step. And with this, their forth album in three years, they have found a plateau that they could stand comfortably on for a decade. The introspective and daring "Try Not To Destroy Everything You Love" is the missing link.

Having taken such giant leaps on their previous effort, it stands to reason that they would come right out of the gate at a similar rate. Not to be disappointed, "Autumn Again" is a blustery piece of modern black metal, but that would be an oversimplification. The use of keyboards and synthesizers is astoundingly effective here, often offsetting the raw power of both the drums and vocals. The percussion elements seem reckless but their foundation is strong, akin to some of the more daring post-rock bands from the far east. The beats are nothing if not deliberate, with tracks like "The Woods Are On Fire" making the most of every solitary drum stick movement and kick. They have found their niche between aggression and transcendence, a foot hold that grows with every sweep keyboard melody. So much so, in fact, that it would not be a stretch to declare this to be the best track of their catalog so far. It is a statement of direction; not a new one or change in one, but a firm step down a path. The atmospheric backing is haunting, while the chilling screams, such as on "Never Complete," are just as raw and jagged as they were when the band began.

There are obvious departures from the past on the album, as well. The title track, for instance, has an opening that is as much jazz club groove as it is anything else. The light tapping of cymbals provides ample support to a bass led melody, a fitting calm before the storm moment. The aforementioned storm, while not up to the magnitude the analogy invites, is enough to displace a few hairs on your head with gusts of distortion. Everything blows and swirls around that central framework, the one so carefully crafted with the growing keyboard presence. It would be difficult not to acknowledge the art-rock qualities that seem present throughout the flow of the album, whether it be the outro to the title track, or the intro to "Hearts Of Light." This may not be a softer band than we have known, but it is a band expanding their influence and, more importantly, their musical output. You'll find a great deal of sincerity buried in the screams, just as much as each singular piano key. That is an attraction that is hard to manufacture; heavy music isn't always heralded for it's ability to bring out emotion. And while "Sepia Mountains For Her Lament" is the shortest track on the album, it is also the most breathtaking. It speaks volumes with every snare, every synthesized note.

The depth of the album isn't even evident by this point, needing the final trio of songs to make it complete. "Closer" is as explosive a track as you'll find on this disc, reverting back into the wild drum patterns of the early stages of the album, without ever losing that firm grip and bass driven leads. The segment that comes just after the three minute mark could just as easily be attributed to a band like Te or dredg, harnessing every ounce of power in each instrument to pull you into the swirling winds. Through a series of mood and tempo changes, they convey strength and emotion, without any lyric sheet necessary. With the dynamics of light and dark now fully at work, "Avoiding Winter" capitalizes at every turn. Whether it be the serene opening, which is beautiful in it's own right, or the first blast of distorted guitars that follow, each segment plays well off the one before and after it. Perhaps the most easily overlooked victory here is on a song like "Starlit Spirits," where the instrumental becomes so expansive, that it is almost too much to contain in one mix. Due to the nature of the music itself, we dismiss production; but here it should be celebrated.

Much in the way that we are not in charge of how a band progresses and changes throughout their career, we are also not in a place to demand anything. Yes, you miss the days when Metallica made music you wanted to hear. And yes, the last few Megadeth albums have been a great departure from anything close to listenable. But you can't reach back 15 years and recreate that sound. An Autumn For Crippled Children are proof that change can be a good thing, honing their own style into one that is strong, but delicate, vibrant, but subdued. It isn't that they've abandoned who they once were, all those years ago; they have just allowed their music to grow and change with them, as people. The raw has come face to face with the well rounded and smooth, and the results speak for themselves. There is, of course, a downside to any album that stakes a claim as the best in any one band's catalog; you'll never look at their other discs the same way again. But after "Try Not To Destroy Everything You Love," I think we can all be perfectly content with that.

9.5/10

Bandcamp - http://anautumnforcrippledchildren.bandcamp.com/
Facebook - https://www.facebook.com/pages/An-Autumn-For-Crippled-Children/108017119243983

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Idaaliur - Le Chemin De L'Étincelant (EP) (2013)

When we waxed poetic about the endless classifications of metal, namely raw black metal, it was not a one off idea. As misunderstood as the raw sister can be, the melodic or depressive black metal movement might be moreso. Because somewhere in the sadness and melancholy, projects like Idaaliur have managed to be uplifting along the way. Maybe it is the way they craft their melodic elements; or maybe it's the balance they find between heavy and soft, light and dark. Either way, sole proprietor Malphas has thrown his hat into the growing ring of melody based black metal outfits who are doing more for the new school than ever before. As prolific as he has been, having his hand in five releases over the last twenty months, each one has its own identity and sound. That alone would be impressive; but they've grown with him over the years, and each one represents a small evolution in the man, the band, and the sound. His latest release, a two track EP titled "Le Chemin De L'Étincelant," is nothing short of breathtaking.

It's as if the artwork and the opening of the first track, "Le Chemin De L'Étincelant (Part 1)" are attached to one another. As the shadowed figure stares out at the vastness of space, a keyboard fueled epic unfolds, with an incredible amount of depth contained within a mix that is less than crisp. But somehow, Malphas makes it all work in his favor, seamlessly combining the flowing melodies, both vocal and instrumental, with the grating screams that come later on. As you cross the four minute mark, you are now completely submerged in his vast soundscape, one part frightening black metal, and one part somber harmony. The transition from part one to the second part is as flawless as it is beautiful. His use of keyboards and synthesizers makes all the difference in the world, allowing the music to live and breathe. As a result, each passing movement pulls you deeper and deeper into the world he has created here. As difficult as it is to not allow yourself to be swept up in the wonder of it all, it may be best to just let the guitar and keyboard work to carry you. Each scream builds from silence and cascades over the top of the instrumental in a fractured harmony of sorts. And all at once, it seems like you have returned to where the album began, staring out into the stars.

When instrumental, vocal, and imagery collide in such a profound way, you won't be able to move on to the next big thing. Malphas has accomplished something here that most musicians work their entire career for, and rarely achieve; he has found the common ground between all three of those elements, and let them come together in a meaningful and clear way. But even more impressive than that is how easy he makes it all seem. Melodies collide with distortion, and simplicity melts together with intricacy to form what is one of the richest, most detailed piece of blackened metal you could think of. It is the latest crowning achievement in a career that seems to be gaining momentum with each and every release. And in his own special way, he has given an uplifting piece of music to the masses; one that, despite the depressing undertones, soars at times. It isn't perfect, though, something that could be remedied with more material. But even with the lack of run time, "Le Chemin De L'Étincelant" is an EP that will stay with you.

8.5/10

Bandcamp - http://idaaliur616.bandcamp.com/
Facebook - https://www.facebook.com/pages/Idaaliur/137739849619080

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Krayl - Froide Et Sombre (Demo) (2013)

There are genres and sub genres, and sub sub genres in metal; even the most dedicated scholars would be hard pressed to name and catalog them all. But when it comes to black metal, the casual observer might think that attaching the word "raw" might be redundant. Known for the grating tones and tin can production, to be known as raw in any form might be misconstrued as being poor quality musicians. But Svartblod is anything but, this time putting his stamp on a more traditional raw black metal project, one that runs contrary to the sadness and morose of his other project, The End. And where the latter relies on emotional investment to his home with his listeners, Krayl is about contrast and light/dark dynamics. For every action, there is a reaction. They might not be equal, but they are certainly opposite. And with this latest demo, "Froide Et Sombre," he takes those tenets to their limits, giving the word "raw" a reprieve from the constant belittling it endures.

What you've gotten yourself into is a tale of two sounds; one raw, one hauntingly scary. The intro track, "The River Of Blood" exemplifies that without hesitation. Early on, an unbridled black metal assault is all your ears can break down. Production values are stripped down and chaotic, and there is no sign of layering or subtlety. But the second half, atmospheric as it is, brings a chill. With sound effects and chanting, Svartblod does more than any instrumental could. Finding a way to merge the two would be groundbreaking, but songs like "The Call Of The Night" take a contrary approach, keeping them separate but equal. This isn't to say one is less successful without the other. But the ambient noise of the second half more than props up the traditions of the first. And somehow, with all that contrast "Burning The Righteous" has something that makes it stand out. The dynamic is almost the same, but stronger, as sampled spoken word segments hit so much harder than the vocals in the main verse. In this instance, you come full circle; starting and ending raw and unpolished. The way Svartblod harnesses these elements, especially in a song like the finale, "As We Travel Across The Filthy Lands," is what separates this effort from others. He dials back the aggression at the right times here, allowing a looped phrase to hit home again and again, before bringing the raw distortion back to the fore.

Raw black metal isn't exactly the most easily understood or digested form of metal you'll hear; sometimes you have to look far deeper than you might be willing to. But if you can delve deeper, beyond the distortion and screams, you might find something interesting to come back to. Svartblod hasn't penned an instant classic here, nor has he reinvented himself or the genre. But the black and white dynamic he relies so heavily on in this effort works in mysterious ways. It's not like the quiet moments are heartwarming or sure to make you feel all warm and fuzzy. But their impact is undeniable, something that was surely the intent. In those down tempo, downtrodden passages, you can find something more than just wildly inconsistent production and musicianship; you can find a vision and an ability to execute on profound levels. And that is enough to propel the demo into a different place in the musical spectrum. Raw black metal isn't as one dimensional as you might have been led to believe. And "Froide Et Sombre" gives you a glimpse at the second level.

7/10

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

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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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Hathorious - Beneath The Shade Of Hathor (EP) (2013)

Money makes the world go 'round. We've all heard it before, and we've probably all uttered those words ourselves. Making music is, unfortunately, no exception to that rule; the bands with the huge budgets can often trump much more talented bands on sheer strength of sound alone. Just ask Metallica. So the lesser known acts, those with minimal if any budget must make the most of what they have; be it a computer, laptop, or friend's garage, you just have to make the best of a bad situation. Whatever the circumstances are for Hathorious, an Egyptian band that floats somewhere in the realm of blackened thrash, it may be time to invest in the future of their sound. Their talents are vast, and their vision is undeniable. But hiding all of those intangibles is the one thing we can hear clearly or ourselves; the production. And while you will certainly hear worse this year, maybe even today, "Beneath The Shade Of Hathor" pushes our audio threshold to the limit.

There is no point in masking the obvious or waiting to point it out; the production on the album is mediocre at best. The early moments of "Dawn Of The Ancients" do an admirable job of hiding that fact behind sound effects and a plucked melody. It is a great way to open the album, building a mood that is equal parts ominous, with the rumbling background noise, and enchanting, as the melody floats through the air. But as soon as the album begins in earnest, the mix is hard to bear. Whether it is the recording of each instrument, or just how they are layered together, it becomes increasingly hard to discern one from another. Drums mask guitars, guitars all but drown out the bass, and when played simultaneously, there is little more than a mass of distortion flooding through your speakers. In the few moments where the dust settles enough to make heads or tails of it all, you get treated to a flurry of deft guitar work. Guitarist Alhussin is the band's biggest weapon, despite a chaotic place in the pecking order.

When his guitar is left alone, clean or distorted, he works wonders; the opening to "Glory Be To Osiris" is all the proof you need. But the metallic clang and sizzle of cymbals fairly drowns out much of the remaining work. The chorus hear, a black metal meets thrash affair, might be the best thirty second chunk of full band action contained on the album. But the cymbal work alone becomes the bane of the album at the same time. When tamed and contained, it can be a great accent piece, as on "Abydos," where the machine gun snares find a fitting home. Drummer Tarek El Maghrabi finds a way to exercise his speed drills, and still be a part of the cohesion of the song. Here it is less a question of the ability to record a great track, as much as it is about piecing it together and finding balance. Alternating melodic and vicious segments would be much more well received if the transition was handled with care. Unlike any other on the album, " the closing track "Funeral of Akhenaten" is a down tempo doom march, overflowing with massive kick drums and distortion. As surprising as it may be, it brings the low end into the spotlight for the first time. 

It takes a lot of talent and vision to overcome severe faults in the recording process. A poor mix, lackluster engineering work, or just minor volume issues can take a classic album and relegate it to the land of the mediocre. While Hathorious may not have written the next huge metal release, they certainly envisioned something far more refined than what sits in mp3 format on your hard drive. The mixing issues alone make this album difficult to listen to in one sitting, for an audiophile, or someone with a sound system they are particularly proud of. The cymbal sound alone taints a large proportionate chunk of the album, much like the snare sound of little Lars Ulrich did to the steaming pile of manure that was St. Anger. By no means is this as big a faux pax as that was; not when millions of dollars were involved in a single recording session. But for Hathorious to get any better, they will have to start from the beginning, and treat the recording process with more attention to detail. That, or "Beneath The Shade Of Hathor" become the first in a line of production failures.

7/10

Bandcamp - http://tornfleshrecords3.bandcamp.com/album/beneath-the-shade-of-hathor
Facebook - https://www.facebook.com/Hathorious

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Leka - Catopia (EP) (2013)

Anyone who has been fortunate enough, or unfortunate enough depending on your viewpoint, to have a pet has surely wondered what goes on in their minds. Cat owners, in particular, have to wonder what kind of plans are being hatched in that furry dome. With their popularity on the rise thanks to the various channels of the internet, it only makes sense that world domination is on the docket each and every day. Leka, a one man progressive death metal project from Finland perpetrated by Juuso Leinonen, has invested a good amount of time into this possibility. And through his melodic death compositions, he has concocted a satirical tale about the rise to power of our furry overlords, and their rule over all of mankind. Roles now reversed, with us as the pets, and them as the owners, a new world order is in place. And with the five tracks of "Catopia," their story will be told for generations to come.

With guest appearances attached to much of the album, not the least of which is the beautiful voice of Elise Karlsson, there are a lot more pieces at play than just one mind. But as "Offering to The Fluffy One" proves, this is no joke. If you aren't bruised and battered by the neverending stream of double kicks and machine gun snares, the high levels of distortion will surely catch up with you. But between savage beatings, Leinonen infuses a healthy amount of avant jazz stylings, something you would never expect here. Their effect is felt, but it cannot derail what is otherwise a blistering assault on the ears. "Hail The Evil" is no different, employing the full armory of weapons at his disposal. As the clean vocals of the verse give way to the explosiveness that follows, Leinonen may have found a perfect storm to sweep you up. Lyrically, the cat has risen, "An ancient evil, older than time itself, worse than the antichrist." The contrast of the early part of the track is not lost here, with that repeated clean passage setting up each subsequent explosion. By track's end, a chorus of voices, clean and harsh, chant together.

More than the other tracks, though, "The End Starts Now" is the perfect mix of metal and satire, with Leinonen crafting a track that is musically diverse, but also punishing when it needs to be. A true album highlight comes just before the two minute mark, as Karlsson and Timo Olkkola duet in a Vaudeville style, one that brings to mind recent works of uneXpect in it's bizarre nature. Once again, the creativity in the lyrics shines through, as Leinonen drops the bombshell line "It's useless, like dolphins, converting to Christianity, with no reason why." The words may poke fun, but the delivery is applause worthy. It would be damn near impossible to pick out a track that stands out more than the others, but the marriage of opposites on "Turncoat" might take the proverbial cake. In the verse, you have a blackened death metal delivery that rivals the best acts in the business; showing once again that satire may be tongue in cheek, but this isn't a gimmick. But you also get a soaring chorus, a  dynamic and powerful vocal component. You have the story at your disposal throughout the album, concluding with the aptly titled "The Purge." Every bit of blood and guts that is coming is captured in both the instrumental and the vocals, a terrifying means to an end.

It's no secret that metalheads are notorious for their love of their pets. As I sit writing, I have two sets of eyes fixed on my jugular, waiting for the time to strike. But this project, this work by Juuso Leinonen, has brought together many of the things we hold most dear; our pets, our music, and the crippling fear of being overthrown. It can't be stressed enough that subject matter does not disqualify an album under any circumstances, whether it be about Christianity, Goblins, or even cats. If you can't reconcile the lyrics and themes here, you would be more than welcome to digest what is one of the most intensely successful instrumentals we've heard in recent memory. But adding in the well thought out lyrics and story, you have an album that is something else entirely. Leinonen characterized the album as a "story about cute demonical creatures seizing the control over mankind," and he has done more than enough to get that across to us. But every riff is followed by a sly smile, concluding "Catopia" with the lyric that seals the deal; "It's so fluffy, So fluffy I'm going to die."

9/10

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

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Aylwin & Černá - Split (2013)

The concept of a split might still be foreign to most people; it isn't a new process, but it is far from mainstream. However one may come about - be it by the collected minds of the bands, a label, or just a compilation - there have been some interesting collaborations in the past. But when you see the names of Aylwin and Černá on the same disc, you are getting two of the brightest stars and most talented musicians in the new wave of black metal sub sects. Aylwin, on one hand, stays true to the genre, opting for the rough recording and machine gun drums that have made it a cult favorite for decades. Černá, a one man project that, by our count, has one of the best albums of the year in "Restoring Life," is a example of finesse in the face of brutality, combining the old and new schools of thought. Separately, they are at the top of their respective scenes. Together, you have roughly twenty five minutes of varying and eclectic metal that is sure to be a testament for the future of the genre.

Aylwin's contribution to the split begins with the most subtle of beginnings. Strummed acoustic guitars only last so long before the raw black metal sound pours through your headphones to unsuspecting ears. As harsh as the sound may be, it is also somehow refined, even containing a melody hidden just below the surface. It is organized chaos, with crushing blows coming at every turn. But when the tempo is dialed back, even in short doses, it does wonders for the mood. There is something somber, yet reassuring in the opening to "Always And Forever;" the combination of chords and plucked strings sets the table perfectly for the crying guitar that dominates the latter half. Snares drums snap down in rapid succession, a true black metal tenet. But the soulful guitar solo that launches the final minute is anything but traditional. The minute long interlude, "Pale Watcher," is enchanting in it's own right, a fragile piece of clean guitar work. As it fades, the rumble of distortion returns, with two layers of guitars fighting for space with a massive drum sound on "The Taste Of Lips." Every passage is more intense than the last, bolstered further by the clean vocal presence of Michael Korchonnoff. It seems almost unreal how much his voice impacts the sound, but as the second half comes, it all falls into place. The cleanest of outros, for the most emotional finish.

Needing only one track of his own to be felt, Černá mainman Cody McCoy uses his entire arsenal in his effort. The ease with which he crafts the intro to "Zavis; Lost" is phenomenal, floating through an acoustic piece. But his talents don't end there, as we well know. The crisp mix accentuates all of the flourishes of sound, from the drums to the multiple layers of melodic guitars. The balance between distortion and melody is one that is barely attainable, but rewarding. By using a spoken word portion, this particular one talking about the dangers of addiction, he adds another level of meaning to the track. He uses his creativity to his musical advantage, surrounding himself with more and more depth of sound. The soundscapes created here are incredibly detailed, with seemingly more layers than one could count at any one time. But whether or not you find meaning in the full circle finish is key. The track winds down, returning back to the simple clean guitars for which it came.

If you're out and about, wandering through your favorite record store, and you happen to see a split LP by one of your favorite artists, pick it up. Take a long look at what's there. A b-side? Unreleased? Acoustic? Chances are, it'd be more than worth the money to hear it. Aylwin and Černá are more than capable of putting out discs on their own; Aylwin alone has been a part or the whole of four releases in the last twelve months. But in this format, they can lend each other a helping hand, giving the audiences of one to hear the other. And with the advent of the internet, which occupies most of the word of mouth sect of music sales, that chance is invaluable. They are giving the fans what they want, that being new music, without making them waiting a year, two years, three years for another full length. Four tracks from one, one track from the other, and we have an EP length release that stands up to a lot of the full lengths released this year. And more than anything else, we've had a chance to see the best and brightest of modern blackened metal, toe to toe. Two for the price of one? You can't beat that.

9/10

Aylwin
Bandcamp - http://aylwin.bandcamp.com/
Facebook - https://www.facebook.com/aylwinblackmetal

Černá
Bandcamp - http://cernamusic.bandcamp.com/
Facebook - http://www.facebook.com/OfficialCernaMusic

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