Archive for Russian extreme metal

Blackthorn Album Complete

Posted in News with tags , , , , on 20th October 2011 by Nico Davidson

Blackthorn

All-female symphonic extreme metal band BLACKTHORN proudly announces that their second album entitled “CODEX ARCHAOS” is ready!

Mixing and mastering for the album were done again by Igor Korolyov at KIV Records. Bloody conceptual artwork by W.Smerdulak.
Tracklisting for Codex Archaos is as follows:

1. ‘Divination In Blood’
2. ‘Vehemence Came As Anodyne’
3. ‘Nemesis Incarnation’
4. ‘Gorgon The Ascendant’
5. ‘Emptysis Kiss’
6. ‘Arria Marcella’
7. ‘Posthumous Passion Ephemera’
8. ‘Dismalediction and the Remedy’
9. ‘Серебряный Ключ’ (Silver Key)
10. ‘Hexshadow Turned To Flesh’
11. ‘Bestial Satan Of Grotesque Beauty’
12. ‘The Fading Ceremony’

The album will be released in Russia this winter via MSR Productions. The band are also looking for a label to release Codex Archaos through in the US and Europe.

Artania – Night Shall Crown Ye [2011]

Posted in Review with tags , , , , , , , , , , , , on 26th July 2011 by Nico Davidson

Band: Artania
Album: Night Shall Crown Ye
Release year: 2011
Genre: Symphonic Black Metal

Russia is known for its cold and cruel winter and its old, bloodthirsty leader Stalin, both of which have shaped Russia into the perfect grim environment for any black metal musician looking for bleak and nihilistic inspiration for their music. The grim environment has done more than just provide inspiration however as it has been the breeding grounds for many underground black metal bands in Russia. In 2007, Artania was born from said breeding ground, with a more black-death metal sound. After several line-up changes, they soon developed a unique blend of symphonic black metal complete with Russian lyrics. “Night Shall Crown Ye” is Artania’s debut album, released originally on May 31st through Graillight Productions in the band’s native Russia but is now available for digital release exclusively through Hunter’s Moon Records.

The air raid sirens of “Alchemic Dream (Demonic Mantra)” begin the album. The symphonic orientated riffs soon follow complete with angsty drums and violent guitar sections. The vocals are a combination of beasty and scary – Probably due to the Russian lyrics they’re screaming. The drum work is very precise and technical, showing great intellectual playing from the drummer. The whispered section is somewhat eerily haunting. The only downside to “Alchemic Dream” is that it doesn’t seem as aggressive as a black metal track usually is – This could be a result of the emphasis on the orchestration or perhaps a fault on the producer’s behalf.

The title track “Night Shall Crown Ye” begins more slow paced with a slightly progressive sound echoing from the drum work. The pace slowly and ever so slightly increases, building up for the appearance of the vocals. To begin with, the vocals are more along the lines of death metal as opposed to black metal. The Russian lyrics help give the track that certain grim touch that very few black metal bands today can pull off. Another key element about the track is the lack of orchestration when compared to the guitars and drums and the use of female vocals is simply enchanting, for lack of a better word. “Mysteries of Order of Priorate Zion” is an aggressive and barbaric track at the start. The vocals have become more hateful and rage-fuelled. There is more use of symphonic elements compared to “Night Shall Crown Ye”, adding a very Gothic sound to it. A big downfall for “Mysteries of Order of Priorate Zion” is that it doesn’t seem as heavy as it’s meant to be.

The acoustic beginning of “Liturgy in Black Colors” greets the listener unexpectedly. Fortunately for those whom don’t enjoy acoustic guitars, the sound of electric guitars soon blasts through. There is more use of orchestration as well as more black metal screams, which is always a good thing for black metal fans. During the second half of the track, the acoustic guitar appears again, which puts a sudden halt to the energy of the track and the vocals seem to be more demonic, more violent and more spiteful, sounding almost like the blood curdling screams of Abaddon. “San-Grinyol (Theatre Of Death” continues from where the previous track finished, bringing in more use of acoustic instrumentation to begin with before the savagery of the electric guitars and drums breaks in. “San-Grinyol” is clearly more brutal than the previous four tracks and is possibly one of the best on the album so far. The guitar solo is well composed though slightly short.

The assaulting drum work and guitar riffs of “Fogs Of Witches Heath” tears through next, bringing raw, untamed energy and aggression with them. The vocals are more bloodthirsty and savage in their sound, which is both terrifying and awesome. The combination of female vocals and piano medleys is immense, especially when when the track turns heavy again with the female vocals working alongside the harsher vocals, in true beauty and the beast fashion. “Towards Northern Wind” brings a calmer approach to the album whilst retaining a certain element of heaviness at the same time. Disappointingly, there is a lack in the use of orchestration, save for the introduction and the middle section. During one part of the second half, the vocals sound very raspy, which is a great effect for both the album and the track. “Thirteenth Sign Of Nostradamus” can only be described as hauntingly Gothic to begin with before the melodic guitar work kicks in followed by the raw sounding vocals. The whole track seems to be more passionate and energetic than the rest of the album which says a lot considering how energetic the previous tracks are.

The album finishes with “Secrets Of The Moon”, which is another track to feature an acoustic beginning. The female voiceover in Russian adds a very creepy sound which is soon fought off by the sudden – and unexpected – increase of heaviness. The track remains consistent in its brutal aggressiveness. The drum work is intelligent and the guitar sections are immense. “Secrets Of The Moon” is possibly the most brilliant way to end the album.

It’s hard to believe that “Night Shall Crown Ye” is the debut album of Artania, as the album has such a mature sound to it, anyone would think its Artania’s third or fourth album. The sound is unique, brilliant and definitely worth a listen, even if some parts of the album are a let down. Clearly, Russia is a country filled with talented musicians and Artania’s “Night Shall Crown Ye” is evidence of this.

4/5

Nico Davidson

Blackthorn – Gossamer Witchcraft [2010]

Posted in Review with tags , , , , , , , on 26th July 2011 by Nico Davidson

Band: Blackthorn
Album: Gossamer Witchcraft
Release year: 2010
Genre: Extreme Metal/Gothic Metal/Black Metal

It’s not often that one hears of an all-female extreme metal band from Russia, let alone any kind of metal band from Russia, as most of the exposure for metal seems to be in European nations such as Germany, France, Italy, Austria and Scandinavia along with some emerging from the US. However, Blackthorn, made up of five lovely ladies, whom hail from Russia, have been a force not to be messed with in the Russian metal scene, combining gothic and black metal into something new. Their debut album “Gossamer Witchcraft” will be the album to determine their success on the international metal scene.

”Immortelle for a Hollow Grave”, the shortest track on the album, offers up a very mystifying atmosphere with the use of whispers and a haunting piano medley. “Edenbeast” seems to carry on from where “Immortelle for a Hollow Grave” finishes, bringing with it a violent guitar riff and fast-paced orchestration. The drums are machine-like in their playing, yet more brutal and heavy than a drum machine could ever be. The vocals leave something to be desired as their operatic styling doesn’t seem to work along side the aggression of the guitars. The guitar solo is just amazing – Whoever said that a woman can’t solo is clearly wrong. The gothic orchestration of “Necromance” follows after, before the orchestration is wiped away by the guitars. The vocals are different to begin with, favouring good ol’ fashioned death metal grunts and growls but the operatically styled vocals can be heard on this track yet they seem to work with the savagery of the track this time. “Necromance”, put simply, is like a more extreme version of an Epica track.

”The Moon Emerged From Behind Clouds” begins with a faster tempo compared to the two last tracks. The brutality continues on this one as well, fortunately enough for those who enjoy the elements of extreme metal. The soprano vocals are simply memorising and enchanting. The riffs seem to have a bit more melody whilst the drums still have that machine-like precision to them. Classical meets gothic in the form of “Saturnia” during its introduction. The guitar riff that follows has a very death metal sound to it, whilst the drums appear to be lacking slightly in power. The keyboard  and vocal sections add a hint of beauty of the beasty violence of the guitars and drums.

“Blackthorn Winter” is another song with a gothic-turns-brutal introduction. Everything, except for the keyboards and vocals, seems faster, more violent and more angry. In some sections, it sounds as if the vocals are struggling to keep up with the tempo of the music. The best thing about the track would have to be energy and passion that just burst out at the listener. “The Blackness I Prowl” has an interesting beginning, being composed of dark orchestration and what could possibly be the sound of a howling wolf. The vocals are so powerful yet so haunting at the same time. The voice over about half way through adds a very horror film-like touch to the track as well. An interesting thing about “The Blackness I prowl” is the emphasis on the orchestration as opposed to the shredding guitars and pounding drums.

The title track “Gossamer Witchcraft” has a good introduction – Combining dark orchestration with narration. There is more emphasis on the orchestration throughout the song, with the guitars having a minor part in comparison though they do appear frequently through the track, fortunately enough for those who enjoy the face-melting riffs. Though the soprano vocals are featured through the track, there does seem to be more work done by the narration and voice overs which is somewhat of a let down but the guitar solo does heavily make up for the let down!

”Will-o-the-wisp” combined orchestration, acoustic guitars, soprano vocals and distorted riffs into a masterpiece of a track. Oddly enough though, it seems vaguely familiar in the eerie déjà vu kind of sense. “The Cobweb Veils Fall Down With Grace” acts as an interlude before the final two songs, bringing a terrifying essence to the album with its dark and melancholy piano medley. The final two tracks are the Russian language editions of “Necromance” and “The Moon Emerged From Behind Clouds”. They are a lot more exciting with Russian lyrics, bringing a sense of despair and horror with them.

Blackthorn certainly are different to most female fronted bands. They are more aggressive and violent in the music and more dramatic and haunting in the vocals – In fact, in terms of heaviness and brutality, they put a lot of male-dominated bands in the extreme metal scene to shame. “Gossamer Witchcraft” is a mammoth of a testament to the skill, talent and musical genius of Blackthorn. It’s a great addition to any extreme and gothic metal fan’s collection and clearly has the potential to be amongst the top metal albums of the century.

5/5

Nico Davidson