(We present another one of Dan Barkasi‘s monthly collections of reviews and recommended music, taking stock of 8 records that saw release in March.)
The year is moving quickly, isn’t it? March brings us the reminder of Julius Caesar’s big mistake, the conclusion of the UEFA Champions League round of 16 (Heja BVB), and some of the final episodes of the timeless Curb Your Enthusiasm. Whilst I agree with most of Larry David’s neurotic observations, we have to especially take his side on the cheese debate. Also, text chains are the worst. But, we could go on all day. Kevin P and Madder Mortem know the score.
We’re a quarter of the way through already, and the volume of releases is on a steady upward trajectory. That leaves a metric ton of music to take in – not that we’re complaining, mind you – in order to dig out a smattering of quality stuff that may be hiding between some of the more obvious heavy hitters. The month also brought its share of puzzling releases – Coffin Storm is the sonic equivalent of melatonin – but thankfully, there was more quality than not from the bigger acts on down.
Black metal was dominant, with a wide variety of stylistic variances represented. Accompanying are a few of the doom-related sort, the combination of which may have cracked the drywall of our house, and a bit of death metal brimming with hardcore anger. Kick back, bite into an inverted chocolate cross and some Reese’s peanut butter eggs that I hope you scored from the clearance rack after Jesus saw his shadow, or something like that. That means six more weeks of winter, or in my neck of the swamp, weirdos in GORE-TEX coats in t-shirt-grade weather. Florida Man be damned; let us indulge in the metal.
Beenkerver – De rode weduwe
Release Date: March 1, 2024
Dutch stalwarts Beenkerver haven’t been around long, but the enormity of Niels Riethorst’s solo black metal project is undeniable. Preferring to go down the route of Dutch folklore, nature, and the like for subject matter, his second full-length De rode weduwe (“The Red Widow” in English) boasts an original story. Centering around a character named Sophia – aka “The Red Widow” – who is tragically persecuted and murdered for witchcraft, but takes her vengeance without prejudice. An intriguing yarn, to be certain, and the music is just as engaging.
If new to Beenkerver (“Bone Carver” in English), expect chilling riffs and an imposing wall of ferocious black metal, supported by a helping of sorrowful melody. Such diverse black metal is our favorite kind, and when it’s executed this well, we take notice.
The title track is the first of seven songs, all representing chapters in the story, successfully setting the table with blistering riffs, layered cavernous screams and drum work that batters away uncompromisingly. Kudos to Joris Nijenhuis for laying down said percussive display. De rode weduwe isn’t all full-throttle, with tracks such as “Breng mij haar hoofd” bringing a dialed-back cadence that nears blackened doom territory, whereas “Vergane Rozen” tastefully weaves folk elements with a base of stinging riffs and downtrodden tremolos that leave a veritable mark.
De rode weduwe gives a smidgeon under an hour of irresistible black metal that stands on its own as violently aggressive, yet sorrowful and profound. Beenkerver is an ambitious endeavor that consistently delivers in every conceivable way. The lid won’t be on Beenkerver for long, so give them a spin, and don’t mess with Sophia.
Angmodnes – Rot of the Soul
Release Date: March 1, 2024
We’re staying in The Netherlands for our next act Angmodnes, who convey cataclysmic funeral doom that harkens to the best elements of Evoken and Mournful Congregation. Expect long, lumbering slabs of nightmarish enormity, but not without a share of surprises on what is their debut album in Rot of the Soul.
A standout piece of the band’s approach is smooth multi-faceted vocal arrangements. From deep, bellowing growls to melancholic clean croons, dreadful whispers, and soaring female-led harmonies, they run the gamut of stylistic direction. To the band’s credit, it’s never jarring or out of place. Quite the contrary – our favorite moments here are when they layer these vocalizations into mighty crescendos. Take the midpoint of “The Hours”; monolithic riffs mixed with layered voicings of all previously mentioned flavors, exploding in one of many immensely powerful moments that define Rot of the Soul. Don’t think that they’ve forgotten the pensive, more restrained pieces, as somber tones take over when needed to move the mood along to new depths. Even the title track/closer gives a hint of grimy tremolos and gothic-infused beauty in a few spots, but always maintains a cohesive structure.
If abrasive doom with a high acuity for creative song composition that not only brings the riffs, but also a unique purview to those downtrodden feelings, Angmodnes is unmissable. There’s so much to sink your teeth into, and repeat listens absolutely make the album plant deeper roots into your psyche. Rot of the Soul deftly flattens with dexterity, standing out amongst a highly competitive doom scene.
Etoile Filante – Mare Tranquillitatis
Release Date: March 1, 2024
Ambient music is a true art form perfected by many French purveyors, and the spacey black metal quartet Etoile Filante is a name that took this writer by surprise. Having released an EP in 2014 and a first album in 2020 titled Magnum Opus Caelestis, they were an act that had potential which we hoped would build to something incredibly captivating. Their second album Mare Tranquillitatis is a realization of that potential.
Etoile Filante is primarily about atmosphere, featuring long passages of lush, cosmic ambience at every corner, but wisely mixed with a sense of melodic epicness. This is loaded with sci-fi musings that would fit in many eras of cinema, from the bold to the more delightfully cheesy films of yesteryear. The resultant is impressively expansive, exemplified in the near 11 minute “Sur les stèles des soleils entrevus, ou le châtiment de Neptune.” Swaths of synths are ever-present, but not without progressive blackened instrumentation and wild song structures. Busy is an apt word for the band’s output, but it’s a more concerted and exciting exploration. Plenty of chilling atmospheres are offered on tracks such as “Fragments de Poseidonis” and “Naufragés de l’océan d’Onyx” to accompany the grandiose, sleekly emotive synthesizers. Also notable is the instrumental title piece that wouldn’t be out of place in the soundtrack for a Tron movie.
Spooky visions of a frightening future define the journey that is Mare Tranquillitatis. Believe you me, Etoile Filante have devised a true out-of-this-world experience that is out there, and we’re all the happier for that adventurousness. This could be called 2024: A Black Metal Odyssey and it wouldn’t feel out of place. Yeah, that was stupid, but color me energized by this absolute joy of a record.
No Reason to Live – The Price of Disloyalty
Release Date: March 4, 2024
Fellow Pittsburgh natives No Reason to Live have always brought an admirable untamable madness. Portraying a hardcore-infused groovy death metal, there’s a high level of instrumentation present on all of their releases, while bringing a wall-obliterating slam intensity that will bloody any face within a large radius. Sadly, they’ve been quiet for a while; their last release was Only Death Is Certain back in 2016. Now eight years later, they’ve dropped an EP in The Price of Disloyalty that proves they haven’t forgotten how to kick the crap out of you.
The six songs are all furious and have just the right tinge of melody to diversify from their peers. High quantities of scorching lead work are spread throughout – the solo on “Unleash the Killers” will melt glaciers – and the riffage is there to match. Vocalist/guitarist Joe Bonaddio barks vociferously with a hardcore energy and aesthetic, as the songs blaze by in a destructive flash. “Every Day Is a War” provides a balanced mixture of crunchy death metal riffs and fretboard dynamics, while the closing title track leaves a proverbial breakdown-inspired boot print on the listener’s face.
Throw down with No Reason to Live and you’ll have a bruising good time. The Price of Disloyalty is a savage statement that these dudes haven’t sailed off into the sunset yet, and we can only hope that this is a precursor for more in the not so distant future.
Serpents Oath – Revelation
Release Date: March 5, 2024
For a more visceral black metal experience, we present Serpents Oath. These Belgians aren’t fussing about or stretching boundaries a whole lot, but what they do produce is briskly vigorous. Now on their third album since forming in 2020, they’ve stuck to a two-year cycle thus far, and have steadily tightened their offerings with each subsequent release.
The ’90s black metal influence is within the spirit of Serpents Oath, both in presentation and in their musical direction. Robustly storming the gates is “Blood Covenant”, boasting classic traits such as a punishing rhythm section and razor sharp guitar leads. The pace is expeditious, with an in-your-face intent that buzzsaws away without a second thought. “Purification through Fire” continues this line of thinking via roaring tremolos and guttural vocals that are a hair deeper than some of the band’s previous works. There’s a rawness to Serpents Oath, though they thankfully don’t fall prey to a muddy production. Instead, Revelation is concentrated and booming, exploding out of the speakers with a mix that’s clear yet authoritative. Kudos to Yarne Heylen for the right production approach to help the band’s music hit that sweet spot that many miss.
Primal, straightforward black metal is what you’ll get with Serpents Oath, and unlike some attempts, they never come across as tired or contrived. Even though it’s such a clichéd statement, Revelation is indeed the band’s most esteemed creation thus far. A unified black metal assault which simply gets the details exactly right. Dare I say, these Belgians are just so… evil.
Lhaäd – Beneath
Release Date: March 20, 2024
Still in Belgium resides a band whose theme and sonic exploits dive deep into the dark murky waters below. We’re speaking of Lhaäd, who continue their suffocating black metal journey with Beneath – an apt representation of what mysteriously lurks in the deep sea. Yes, be prepared for fathoms of nautical terminology. We do go the extra nautical mile.
Puns aside, Lhaäd is a dizzying storm of mercurial black metal that conjures a thick, foreboding methodology. True to that, the album from bow to stern is a whirlwind that doesn’t give any room to take a breath. True that it’s a demanding piece of music, though we’ll argue that the tsunami-like thrashing that Beneath dishes out is more than worthwhile. Divided into six tracks titled “Beneath I” through “Beneath VI”, the album is executed by design, amounting to a constantly progressing 40-minute body of music. Escalating tension builds and builds, becoming more dire and punishing the further we plunge.
If Captain Nemo was into extreme metal – we think he may have been able to appreciate it – it wouldn’t be preposterous to suggest that Lhaäd provides a fitting soundtrack to the Nautilus’ explorations. Beneath takes a relatively nuanced subject matter and matches it with an inimitable musical style which is biting and grim. That giant squid may have met its match.
Atrexial – The Serpent Abomination
Release Date: March 22, 2024
Another band who possess a knack for hitting the right notes is Barcelona’s Atrexial, serving up a platter of raging blackened death metal via The Serpent Abomination. Their previous efforts were quite solid; Gargantuan revels in a cavernous death metal mixture, whereas debut Souverain brought plenty of unpolished fervor. The third time’s the charm for these Catalans, however, as The Serpent Abomination tidies up their overall sound to result in their most potent work.
Significantly leaning into their black metal side, the gritty crunch of their death metal influences isn’t completely eschewed, retaining an impactful robustness. Moreover, Atrexial have found the balance in their writing that best emphasizes their strong points. The guitar work is potent and sticks in your ears, merging a black metal aesthetic in the majority of the lead playing, while also cultivating crunchy riffs that intertwine nicely. Tracks like “Blackfire Liturgy” also boast a contrast of vocal styles, from powerful growls to piercing screams, and even a midrange bellow or two to compliment the nimble tremolos. Long player “Omnipresence and Gravitation” reaches for a more prodigious composition via atmospheric interludes and a number of restrained moments to give added gravitas to an album that grants numerous elements their proper equity.
It feels as if Atrexial have finely tuned their superlatives into a fine album that cuts incredibly deep. They’ve never appeared more focused and homogeneous, which we imagine is a sign for things to come. Refreshing is the word for The Serpent Abomination; an inspired take on a long-standing go-to genre for this scribe.
Offernat – Where Nothing Grows
Release Date: March 29, 2024
We end this edition wading into the muck, courtesy of Offernat and their molten sludge musings. Debut album All Colours Retract did a serviceable job bringing old school heavy metal vibes together with the thumping crawl of sludge, though at times an increase of intensity would have taken that record up a notch. Returning two years later with Where Nothing Grows brings a new animal with a bite that is more ruthless than even this lunatic could have imagined.
Every facet of Offernat’s methodology has been turned up to 11, and it almost feels like a different band. A darker tone is introduced, including buzzing drone elements and weightier rhythms. Aggression has increased exponentially, with harsh vocals having become dominant, and even more variance via the inclusion of speedy death metal sections. The tracks are mostly immense in length, three of which eclipsing 15 minutes. No filler, mind you, so those notions can thankfully be dispelled.
Take “Grief” for instance, which exemplifies Offernat’s metamorphosis. Think a hint of post-metal nuance coupled with foreboding moodiness. From here, the track picks up velocity, accented via precise throaty snarls and slime-ridden doom. Additionally notable is the title track’s application of venomous death/doom, highlighted by instances of drawn out droning guitars conjoined with staticy nightmarish atmospheres.
Most impressive is Offernat’s ability to write these really lengthy songs and keep them fresh and inviting, cultivating an air of mystery and menace. The Danish trio have transformed into a wholly singular act seemingly determined to make whatever the hell they wanted and present it to the world. That takes guts, and to say it paid off is the understatement of the month. Where Nothing Grows actualizes a relentlessly profound musical odyssey of monumental proportions.