Courtsleet - Hope's Apparition (EP) (2014)

If the above artwork looks familiar, either from our site or others, you aren't crazy, or witnessing some kind of intellectual property theft. No, it shares an image with the recent release by Of Solitude And Solemn, titled "Starlight's Guide," and it is no coincidence. Planned as a split EP between Joe Hawker and Gavin Turner, mastermind behind Courtsleet, it has seen the light of day, digitally at least, separately. While the image may look the same, the former's part of the split dons a pink hue, whereas the latter leaves the image in a sparkling gray. Perhaps it is a growing theme for each; Hawker adding a softness to his image and music, and Turner opting for something less colorful. Formerly of A Forest Of Stars, Turner is no stranger to epic compositions of black metal and atmospheric qualities. But starting over, his Courtsleet project is quickly garnering interest from blogs and music aficionados the world over. This, too, is no mistake. With a strong presence of raw black metal, and a keen ear for background melody and morose, "Hope's Apparition" is bleak, but hopeful. And that feels pretty great.

By asking a humbling question, Turner sets his album into motion with the whine of a guitar lingering in the background, while he plucks away in the fore. "What Was I When Your Journey Began?" is a question nearly impossible to answer. But through the course of ten minutes, the sea of atmospheric tones invites you to pick away for yourself. Turner's biggest success here is the way his arranging of the layers pulls you into the center of it all, and surrounds you with distortion and airy notes all at once. Just shy of the six minute mark, all of that abstract chaos and organization comes full circle, resulting in a genuinely powerful piece of music, complete with raw angst screaming over the top. It isn't polished or tightly wound, and that is perfectly ok. Imagine how monotone and dead to the ears "Proplyd For a Lifelong Nostalgia" would be if autotune and pitch correction were utilized; it would fall on deaf ears. Instead, you get the low roar of unrestrained distortion, a constant shaking of everything around you that provides a hum every bit as important as the music itself. It keeps in line with the tenets of traditional black metal, while still injecting it with a healthy dose of ominous melody.

After hearing both side of what stacks up as a monumental split, it's easy to see why Joe Hawker and Gavin Turner would want to be contained on the same piece of manufactured plastic, or the same zipped music file. Their sounds, while pushing weight on opposite ends of the scale, share so much in common. Fundamentally, their "do it yourself" production is a key element in both sides, but it stands out in different ways. Where Hawker goes for a smoother sound, making his themes stand out prominently, Turner leaves it raw. Different approaches for different styles, both of which work. But where Turner succeeds most is in his ability to turn chaos into coherent emotion; what may sound like waves of noise and distortion, easily translates to something powerful. Would I urge Turner to avoid studio time or slick production in the future? No. But where he is with this moniker and project, a home production fits every aspect of his work. Together with Joe Hawker, or separate as a standalone EP, "Hope's Apparition" is a unique combination of black and white, without the pink tint.

8/10

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

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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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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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Černá - Restoring Life (2013)

One of the most difficult (see: impossible) questions to answer is the one of who is "best." The best thrash band, the best folk band, the best melodic death band. Subjective as it is, there is virtually no way to narrow down the fields of millions and say, definitively that one band stands above them all. We can hypothesize, speculate, or state opinion, but there is no universal answer. But when it comes to the newly exploding post-black metal genre, the field is far more constrictive than the others, and the cream always seems to rise to the top. Maybe it's because mainstream  music fans haven't caught on, or that there is little money in that pool. Either way, it is easy to separate the weak from the strong. As Cody McCoy proves, bigger isn't always better; his one man project, Černá, is one of the most compelling names in this particular subsect, keeping the tenets of black metal alive, while infusing melodic and post elements to counterbalance them. On the new album, "Restoring Life," McCoy delivers a performance unlike any in the field today. One man has set the bar high for millions.

Rather than come out of the gate with a massive blast, McCoy uses his first track to cradle you with melodies great and small. "Woken In Prague" isn't an intro track or an interlude; it stands alone in arc and scope, with his guitar and bass work filling the top, middle and bottom of the audio spectrum. Soothing and somber, it shows his melodic sensibility, while still creating the framework for "Společně part I : Shy Sun" in the process. The latter evokes an emotional response unlike most of the hordes of post-black metal bands. Through the use of only instrumentals, he captivates you. Whether it be the guitars that form the vocal component, or the way each kick drums bursts out of the mix as if you are right in front of the kit, it solidifies the entire track. Much in the same way that "Společně part II : Laying Down In The Rain," is ambition brought to life through musical means. With his guitar leads carrying so much of the weight, the rhythmic pounding of drums and bass work isn't merely an afterthought; it is a melody all it's own. Together, they make a nearly six minute piece feel like three. Before you have time to find yourself completely immersed, the last fading notes are coming and going.

But those notes, those last few strums of the guitar that end the second part, also open "Společně part III : Night Sounds," tying the entire thing into one broad reaching work. But it isn't just another movement in the bigger picture, this is a unique and delicate composition. The distortion still rattles the covers on your speakers, but the richness of the bass line changes the tone of the song. When piano keys enter, it fits all too well. havign touched on the soft spoken side, McCoy now brings back the booming kick drums on the fourth and longest part of the series, "Společně part IV : Embrace the Stars." This is the atmospheric black metal construction that so many bands think they're assembling, while falling miles short of their intended goal. McCoy, on the other hand, delivers in all aspects. As a full band, the track would be impressive enough. As one single man, multi-instrumentalist and writer, it stands as dynamic a track as any single song in the metal lexicon. He teases you with anticipation as the volume builds on his solemn string work, making you wait for the moment the drums will blast back into action. They do, in fact, return; and they deliver a blow that will displace whatever hair you have on your head.

The final chapter, "Společně part V : Lullaby" dials back the aggression in favor of subtle sounds and melodic emphasis. A single clean guitar is the only element you need to carry you through. It's delicately, and precisely, plucked strings put you at ease, while single bass notes are struck to back it. But, like many a surprise, it is the unexpected explosion that comes that will resonate long after those notes fade. McCoy packs the mix full, relying on keen production work to make all of the pieces fit together, which they do without issue. With that journey now complete, you can feel yourself coming to the end of the road, albeit with two tracks remaining. The title track, "Restoring Life," is also the one that best reinforces the talents of McCoy, from both a writing and execution standpoint. He cruises through the downtempo portions with no difficulty, continually setting up the hazy atmospherics that come in wave after wave. he does what the "post" genre always indicates, going beyond the genre tag, and expanding the sound to new reaches. In the same way, "Isa" could be used to define the entire sub genre from which it comes, thanks to the surgical precision of each instrument along the way. As great as the guitar work is throughout, it may be the subtle touches from the bass - a single plucked string, a gentle slide up the neck - that sells it all.

While Černá is a one man band, Cody McCoy is not a one band man. While he may be the lone proprietor of one of the premiere post black metal projects in the world, he isn't sitting back, waiting to record. Currently on tour with Traitor, he keeps his musical mind busy, if not loaded. Maybe it speaks to his talent in the songwriting process, or maybe it speaks more to his ability to put thought onto tape. This work, from start to finish, has all of the polish of a major label debut, without all of the pretentiousness of being tagged the next big thing. McCoy has found that pure, unadulterated balance between emotion and art, fusing them both together, song after song, in a way that makes them easily identifiable, while still maintaining that take on the music that is as unique as a snowflake. But perhaps even more impressive is the construction of the album, recording through the use of live instruments, rather than programmed drums. The talent is there, the vision is there. And as a result, "Restoring Life" is breathing fresh air into the lungs of metal.

9.5/10

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

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