There’s a very strong [...]]]> I could kick myself today, I really could. I bought this album a fair while ago, loved it and then in the years between its release and now, I’d forgotten about it. However, today I randomly remembered it again… so you’re getting a Rediscovering Old Music review

There’s a very strong chance that I may have reviewed this album for an older incarnation of Loucifer Speaks (I’m pretty sure that I interviewed the band around the time that this came out), but I really can’t remember… and I can’t be bothered to look. I know, I know – I’m terribly lazy.

Primitive Graven Image are a fantastic Black Metal band from Chesham, England and “Traversing the Awesome Night” shows off just how fantastic they truly are. This album showcases PGI’s take on old school black metal efficiently and the combination of harsh riffs, guitar solos that have the ability to cut through glass, gravelly vocals and the album’s dark and sinister atmosphere work together to transport the listener to a frostbitten woodland. It’s cold today, but I’m hoping for snow so that stomp through it menacingly with this on my iPod.

The production on the album is very clear and crisp, but it doesn’t feel over-polished and it doesn’t take anything away from the overall grimness. Primitive Graven Image have proved that it is possible to create a solid, full-on black metal album without it sounding like it was recorded in a shed while using a bunch of tin cans and a bucket as a drumkit. Don’t get me wrong, I do enjoy lo-fi production but if you have the means and knowledge necessary to give your work a fuller sound then I’m all for it.

Highlights from the album include “Design”, “As I Wander” (some great tempo changes and atmosphere changes in this one) and “The Journey to the Forest”. I have to say that “The Journey to the Forest” is my current favourite – there’s just something about those drums and the screaming vocals at the beginning of the track that have hooked me in for good.

The band have since released another album, “Celebrating Impending Chaos”, which I need to buy quite desperately… and I’ve read that they are also working on a third release. I’m sure that you’re all now rushing off to order copies of “Traversing the Awesome Night” and “Celebrating Impending Chaos”, but if you need something to listen to while you wait for those CDs to arrive (yes, I’m sure you’ve all bought the CD!) then click here to download the band’s demo, “Hellish Figurines”. This is a free and legal demo that has been made available via the band’s official website.

Rating: 96%

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It’s honesty time, folks: Industrial Metal just doesn’t sit well with me. I panic when I hear samples used in music and, if I didn’t [...]]]> Jethou is… er… two guys and a drum machine from Penge in South London who are looking to take on the world with their brand of Industrial Metal.

It’s honesty time, folks: Industrial Metal just doesn’t sit well with me. I panic when I hear samples used in music and, if I didn’t know Sam (Carter: vocals, guitar, programming etc), I probably would have found some excuse not to review this release and ran away shrieking like a flustered banshee. But, I’m going to be brave and dive in head first.

Any album that opens with a track called “Pornography” has got to be worth a listen, right? The first thing I noticed about this track was how heavy it was. While the production could do with being a little beefier (for my tastes, at least), there is a very metal feel to this first dip into Jethou territory. Already, in just one track, you’re shown the variety of different genres that go into Jethou’s music – everything from Metal to Goth to Alternative Rock to electronica to Industrial to Pop is represented here in some way. I’m waiting for Opera and fairground music samples to pop in next (actually, fairground samples would be great!). The end result is chaotic, but ultimately likeable. Chaos is fun!

“Meathead” kicks off with a terrifically over the top introduction before hitting us hard with some riffs. Again, I was pleasantly surprised by the heaviness. The changes in tempo keep the track interesting, and the clean guitar solo really helps the track to stand out.

“The Well” is pretty trippy and leaves me feeling a little disorientated. I have the feeling that this was the intention though, so it’s a job well done. Plus, I’m liking 3 out of 3 tracks so far… it’s going well!

“Punished” is a track that I’d heard previously, so after the weirdness of “The Well” it was comforting to hear something familiar. I’ve found that this track has taken a while to grow on me. It’s not as instantly likable as “Meathead”, but it does get there eventually.

“A Blaze in the South London Sky” has a fantastic title and is one of my favourites here. The vocals are a little odd at times and I can’t decide if they’re the wrong pitch or just the wrong volume, but I’ve found myself adapting to them as I’ve listened to the track more. The composition of the track is fantastic, the calmer bits paving away for the louder guitars. It feels like there are a lot of stops and starts, but this all works in the track’s favour.

“The Lost Rivers of London” has a good foundation, but I didn’t find myself warming to it as much as the other tracks.

“The End of All Time” is an odd little ballad that, at first, feels out of place then worms its way inside your brain until you wonder why you ever doubted it.

The album closes with “French Letter” – another track that I was already familiar with, but one that is a little too sample-friendly for my personal tastes.

Like I said at the start of this review, I’m not a fan of this particular sub-genre of music, but that’s not to say that I didn’t find some enjoyment in this release. It just goes to show that it’s important to try new things and step outside of your comfort zone. There are areas on this album that could be improved; personally I would have gone for an overall heavier sound (but that’s just me). I also feel that the vocals could be a little stronger in places. While the vocals do suffice and work well here, I’d love to hear what would happen if Sam Carter really pushed his voice and put some power behind it – I think it would give Jethou’s sound yet another level.

Rating: 69%

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Colorado’s Black Acid Devil create the kind of groove-laden, [...]]]> Don’t you just love it when you randomly, completely out of the blue, discover a band that you can’t stop listening to? Today I had this experience with not one, but two fantastic bands… one of which, I’m going to tell you about now

Colorado’s Black Acid Devil create the kind of groove-laden, stoner rock that you just can’t help but love. Throw this on, turn it up, close your eyes and be transported to a psychedelic dream world. The album reminds me of Kyuss in some places… and Black Sabbath in others. This is a place where fuzzy distorted guitars and big meaty riffs reign supreme. The overall effect is one of timelessness – this album feels like it could have been recorded yesterday, or in the 70s. It’ll probably sound just as good in 2030.

Even though I’ve only heard a digital version, the production feels immense. Black Acid Devil have a huge and uncompromising sound, but it never feels over-whelming. They’ve got that ‘just right’ balance pretty much sorted.

It’s hard to pick a favourite in an album full of highlights, but if you only listen to one track (and, if that’s the case, I will have no choice but to assume that you are mad) then check out “Fire Eater and No Mistake”.

The only problem is that I now need more of their stuff… and a t-shirt… and to see them live.

This review is also going to become something of an unofficial Freebie of the Week as the band have made this album available for FREE! Use the widget below to grab it for yourself.

I realise that I haven’t written a huge amount here, but I believe I’ve said what needs to be said in only a few sentences. This album is astoundingly good. Download it and let the music speak for itself.

Rating: 98%

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I’m going to go out on a limb here and say this: “When Ice [...]]]> “When Ice Crowns the Earth” follows hot on the heels of Theudho’s free to download EP, “War into the World”… which is wonderful since it means that I didn’t have to wait too long for my Theudho fix.

I’m going to go out on a limb here and say this: “When Ice Crowns the Earth” is Theudho’s most impressive album to date. Pagan Black Metal does not come better than this. Fact. While “Treachery”, “The Volsunga Saga” and “Cult of Wotan” all have a lot of amazing moments, it just feels like everything has fallen into place here. All of the elements are working together in a heathen harmony. There’s an air of ‘completeness’. I can’t put my finger on it, but everything just feels right.

As with their previous works, Theudho’s love of Bathory certainly shines through here. However, it’s not a major focus and you soon come to the realisation that Theudho are very much their own entity. Would Theudho be creating music in the way that they do if Bathory never existed? I guess that’s a question that we’ll never be able to answer. Maybe the idea would have naturally popped into Jurgen’s head one day…

The album opens with “War into the World” – the track that also opened the EP of the same name. Back when I reviewed the EP, I mentioned that “War into the World” was fast becoming my favourite Theudho song of all time. This is still the case, but on this album it’s accompanied with such brilliance, that it’s hard to pick a favourite. Anyway, this track really grabs the listener right from the start with its galloping riffs, infectious melodies and a feeling of greatness that’s hard to find these days. Usually when albums are started with a track this good, the rest of the album pales in comparison… Well, I’m pleased to say that this is not the case here.

The title track is wonderful. Really, it is. The lead guitar tone is just beautiful… Seriously, the louder you play it, the better it gets: so turn that dial UP! The combination of spoken word sections and Black Metal vocals work fantastically well and give the track several layers for the listener to enjoy. The tempo is changed at several points throughout the song (accompanied by the differing vocals), making the track an entirely exhilarating listening experience.

“The Second Coming” brings us a more intense and frantic atmosphere. Again, there’s a number of tempo changes; Theudho certainly know how to keep you on your toes. There’s also something about this track that makes me want to find an ancient forest (preferably one untouched by human beings) and get back to nature, as it were. All in all, an incredibly powerful track.

Next up is “Niðr ok Norðr” and, despite my complete failure at pronouncing it, I’ve developed quite an addiction to it. It’s both calming and empowering at the same time. It may sound odd, but the first time I heard it I had a terrific goosebumps-on-the-back-of-the-neck moment when the vocals kicked in. I wouldn’t say that the track was necessarily groundbreaking, but it manages to stir up something very primal within me. Now, if someone would like to help me pronounce its title, that would be rather spiffing.

“Heracleidae (Seevölkersturm) ” really shows off just how talented these guys are and each instrument (and I’m including the vocals in this) manages to shine through. Once again, galloping riffs are the order of the day… and, once again, I wish I could play guitar better (yeah, I know, I should practise more).

“Sacrifice the King” means business. It really sounds like Jurgen is pushing his vocals; particularly at the beginning of the track. You can really feel the passion and force behind them. The spoken vocals also make an appearence and provide a great use of juxtaposition. Oh, and the guitar solo makes me weep tears of joy.

“Lokabrenna” is a track of epic proportions. OK, at just over 7 minutes its not especially long, but musically this instrumental piece is absolutely MASSIVE. There’s a lot going on – this is definitely a track that worth listening to through a good quality pair of headphones.

The whole thing is finished off with “The Straw Death” – a track that picks up the pace, runs rings around the listener and then leaves them stunned.

Too often I find that Pagan Metal comes with a set of gimmicks. Admittedly sometimes gimmicks work and are able to bring new depth to the music, but sometimes I find them tiresome and overdone. Theudho do not rely on gimmicks. You will find no happy trolls dancing around to this (as much as I do enjoy a dancing troll); instead, the music is left to stand on its own. And it does. Magnificently.

“When Ice Crowns the Earth” is one of the first releases of 2012 and it’s certainly getting the year off to a good start. The rest of 2012′s albums better be bringing their A game!

Yep, I’m a fan. What can I say? My only problem with this album is that, now it has been released, I’m going to have to wait a fair while until my next Theudho fix.

Rating: 100% – there, I said it. If I could give it more, I would. Please can someone bring Theudho to the UK for some shows? I’ll give you sweeties… go on…

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Since reading their biography I’ve learnt that the band have already released one full album, a selection of [...]]]> Neftaraka’s geographical location make cause a raised eyebrow or two; afterall, Malaysia probably isn’t too well known for its extreme metal exports, but the band really do sound like they hail from a frost-bitten Scandinavian country.

Since reading their biography I’ve learnt that the band have already released one full album, a selection of splits and a couple of EPs prior to “Morts”. Sadly, I haven’t had the good fortune to listen to these releases, but I have the feeling that I will soon be tracking them down.

The album opens with “Rituale”; an eerie piece that gets your hair standing on end. The terrified shouts of a male voice shouting “Who are you?” (and some other stuff) make you feel like you’re in the middle of a horror movie, a particularly horrifying nightmare or a real-life torture chamber (especially when you hear what appears to be an electric drill… followed by screams…). As an introductory piece, “Rituale” really does a good job of setting the mood.

The album really kicks in during the second track, “Sufferance”. Neftaraka have cited Darkthrone as an influence and, while this is evidently the case, they’ve also managed to bend and shape the Black Metal sound into something that is more definitely their own. The track – like all of the album – is dark, evil and hypnotic.

Throughout the album we are shown that Neftaraka are not afraid to experiment with different tempo changes (sometimes doing it a couple of times per song) and this really helps to keep the album interesting and exciting. A fantastic example is “Morbid”; a creepy and unnerving piece, with animalistic vocals (particularly the ‘howls’) that get under your skin and take hold of you. This may sound unpleasant, but – trust me – it’s awesome. This album really showcases Neftaraka’s talent for creating atmosphere. They are not content with getting into the listener’s face the entire time; they also want to creep you out!

Listening to Neftaraka is the audio equivelent of watching a black and white film showcasing a Satanic ritual. Its gritty, dark and atmospheric. The band haven’t spent a lot of focus on the production of this little beastie as it’s not overly polished, and I’m thankful for this. It’s almost like this album just hauled its undead, filth-encrusted body out of the earth and attacked the nearest passerby.

“Mort” is due to be released later this month (in fact I believe it’s due on the 21st January).

Rating: 77%

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This isn’t really a new release, so I’m going [...]]]> Since Eastern Front will be playing in in London on Sunday (alongside The Furious Horde and more), I thought it would be a good idea to write something about their album, “Blood on Snow”. I’m full of great ideas, me.

This isn’t really a new release, so I’m going to treat it as a Re-discovering Old Music review. Although, in fairness, it’s not that old! Not that it makes a huge amount of difference…

“Blood on Snow” houses a collection of tracks that are at home on the battlefield. They are grim, angry and dangerous; dressed in bloodied uniforms and armed to the teeth. However, Eastern Front do not rely on sheer ferocity alone – there are also melodic interludes (“Dvenadtzat Kilometrov Ot Moskvy”), perhaps signaling a lull in the battle; or the calm before the storm. This results in an intense and powerful listening experience. The combination of different tempos and atmospheres make the album feel like a living, breathing entity – rather than a two-dimensional record that can be instantly forgotten about.

The riffs alternate between being seductively hypnotic and terrifyingly savage, and the vocals display an impressive range (this is particularly awe-inspiring for an extreme metal band). It would probably be clichéd to say that the drumming was like machine gun fire… but that really is the case here. Not only does it drive the music along and hook you in, but it also (once again) makes you feel like you’re in battle, hiding in a trench, gun at the ready.

Eastern Front’s “Blood On Snow” has the makings of a classic Black Metal album and is well-worth your hard-earned pennies.

Sidenote: Eastern Front are NOT a political band. I just wanted to make that clear.

Rating: 96%

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