(We welcome the return of Dan Barkasi with another one of his monthly collections of reviews, this time focusing on eight albums released in September of this year.)
Sequels – the often lame, half-baked follow-up to a film that sullies and dilutes what made the original great. Or worse – a next chapter to something which wasn’t anything you wanted to see in the first place. The latter aptly describes our time since our last rendezvous on this fine site.
I mentioned the devastation of hurricane Helene, which grazed past our specific location with minimal issues, other than a day without power (we were incredibly lucky). Then, the dreaded sequel named Milton showed up. Seemingly seeking vengeance for being given such a name – apologies to the fine folks who have been bestowed said moniker – Milton was the most destructive storm to hit west central Florida in over 100 years.
We ended up having to evacuate along with our large army of fuzzy family members to Ft. Pierce and the wife’s cousin’s place, who were incredibly accommodating in hosting us for a few days. The wild part is that an EF3 tornado struck a few miles from their house. This showcases the wide and frightening impacts that this storm brought.
Fortunately, our house is fine, other than some minor wind damage to the exterior. Our street was littered with downed trees, power lines, etc. The barn where we board our horses had flooding in some of the fields, as well as where the well pump is located, resulting in getting the horses the water they needed was quite a challenge for a while. I’ve never seen anything like this in person. Places that I couldn’t imagine flooding resembling a lake, and to this day, some rivers are rising and causing even more flooding.
For us, we were on the lucky side of things. It took about a week to get power back, and nearly 3 weeks for our Internet connection to get restored. Since both the wife and I are remote for our day jobs, we crashed at my folks’ place that had power and Internet. We’re finally back in our own home, so we’re good, and are very thankful and relieved that we’ve not experienced the worst of what so many have.
Through all of this turmoil, we’re trying to catch up on an incredibly busy September (and October immediately after this) amongst all of the chaos that has proven to be quite the challenge. Nevertheless, we’ve got some selections that run the gamut of what was a stacked month. October is looking to be quite delicious, too, so lots of quality music to dive into. I’m certainly grateful to have so many wonderful sounds to take in, and thank you for checking out my monthly musings. All the love to everyone, and I hope you enjoy the selections for September.
Helevorn – Espectres
Release Date: September 13, 2024
Within the death/doom subgenre, the talent pool is quite deep, and has been for some time. Due to that, some bands can slip through the cracks and not get as much spotlight as they maybe should. Spain’s Helevorn is one such act, who have been making grandiose, weighty death/doom since 1999. They don’t get the plaudits that the stellar Draconian or Saturnus do, but they’ve built an immensely strong discography for themselves regardless.
Personally, Compassion Forlorn was the point of entry; an album overflowing with gothic tinges and bucketloads of reflection and grief coupled with huge riffs and vibrant vocals. The formula works swimmingly, though one could expect a potential disruption since 2019’s Aamamata, when three of the five members have since departed the group. Diving into their latest and fifth full-length Espectres, that notion couldn’t be further from reality.
Piano keys and mournful strings transition to crunchy riffs and slow, weeping leads, making up the opening salvo of “Inherit the Stars” – making it evident that this will be a journey filled with emotive twists. Helevorn have always truly embraced the gothic side of their musical sway, and it’s ever apparent throughout Espectres. Vocalist Josep Brunet’s silky croon balances with his guttural roars as well as ever – “The Defiant God” and “When Nothing Shudders” exemplify the depth and emotive range delivered throughout. “Unbreakable Silence” is a tense, glum exposition that’s both a catchy earworm and a complex composition with a multitude of layers to peel back. There’s much to uncover here, with multiple listens proving ever rewarding.
If doom in any aspect is one’s fancy, there’s much to love and discover on Espectres. Helevorn consistently delivers a monumental slab of doom every five years or so, and their latest is a more than satisfying slab of authenticity, heart-breaking moments, and masterfully woven songwriting. Truly a doom connoisseur’s bleakest nightmare, and yes, that’s a compliment in these parts. Hopefully Espectres brings the Balearic Islands natives some much earned notoriety, for it’s a rewarding album that further solidifies Helevorn’s enduring spirit.
Vafurlogi – Í vökulli áþján
Release Date: September 13, 2024
The island nation of Iceland has given us quality black metal of the highest order for a long time, and thankfully for all of us, the output hasn’t slowed. Innovation and blazing their own path has always been the key to Icelandic black metal’s withstanding impact, and the latest example of this is Vafurlogi, a project created by Sinmara’s Þórir Garðarsson along with members of Svartidauði, Nyrst, Úlfúð, Helfró, Rebirth of Nefast, and others, with a goal of again concocting something unique in the black metal realm.
The ideas put forth in Vafurlogi’s debut Í vökulli áþján stem from years of work by Garðarsson, and naturally, one would expect bits from his other current/former bands, with new sparks and influences woven in throughout. This is exactly the spicy result we yearned for, and the result is nothing short of glorious.
Truly, Vafurlogi takes on black metal from a different angle. A definite melodic tinge is present, but it’s more subdued and foggy, versus the more front-of-mix and bombastic approach that is more the norm. Opener “Reikul vofa” is full of fury and cacophonous voicings, while off-kilter time signatures and transitions take the music in directions one may not expect. There’s also an air of poise to Vafurlogi’s sound profile, but within that is a chaotic base that creates a fresh atmosphere of which the band takes full advantage.
Garðarsson’s vocals are coarse and full of reverb; gritty with a mysterious aura. There’s a slight folk feel to tracks such as “Viðjar holdsins” that resemble old-school Enslaved, though the song structures are wholly unique, smoothly transitioning between melodic passages and sturdier rhythmic trances. “Helgrindur” and “Duftið eitt” emit more forward thrust along with a large dose of dissonance, while differingly “Hvíldarsálmur” contains a haunting presence, especially in the latter half of the song where the pace gradually slows.
Vafurlogi isn’t typical in any sense of the word, and that idea drives the construction and execution of Í vökulli áþján. Garðarsson and company have – yet again – achieved a musical endeavor that’s distinctive, robust, and ever meticulous to each detail. Great time and care were put into this record, evidenced by the intricacy and dynamism present in the final product. Chances are, if you like black metal in any way, you’ll find something head turning within Í vökulli áþján.
Blighted Eye – Agony’s Bespoke
Release Date: September 13, 2024
Progressive death metal territory is where Blighted Eye resides, and anticipation for a full-length debut has been brewing since their 2020 Wretched EP. The band decided to make this album a concept based on the 2018 Australian psychological film Nightingale. Note that I’ve never seen the movie, but it’s a revenge story set against the backdrop of the Britain’s brutal and violent colonization in 1825 Tasmania (read the link for a detailed plot synopsis). An ambitious story to tell and, especially for a first album, quite the task to take on. Blighted Eye manages to tell the tale with tenacity and creative song design, making Agony’s Bespoke an exemplary piece of forward-thinking death metal.
One aspect that’s evident from the get-go is the technicality of the instrumentation. Blighted Eye nears tech-death levels of complexity, but aren’t noodling around just to prove they can. Instead, they’re writing challenging, engaging songs with a narrative to tell – an undertaking that garden-variety technical death metal isn’t always up for. Hence, Blighted Eye aims for and nearly always hits that elusive sweet spot.
“In Enmity” and “The Wounding” are great examples; both are filled with spectacular instrumentation, complex time signatures, and bewildering fretboard wizardry, all while being nervy, pensive, and finely constructed songs that connect on a deeper human level. Agony’s Bespoke contains a raw energy that does the story justice, while musically presenting a smooth and engaging experience. Select pieces contain euphoric, restrained segments, like the thundering acoustic section of “Howls From Beyond the Mist.” We also have explosive moments of full-on savagery, with “A Feast for Worms” dispensing healthy amounts of peril. There’s even bits of blackened doom through large portions of “Pallid” that are woven together with clean yet intense guitar work, raising the tension to a boiling point.
The finale and title track is an 11-minute marathon that completes the tragic story with grace and heft. The clean vocals contrast nicely with black metal snarls and death growls, while the overarching atmosphere is as tastefully cinematic as it gets. Be warned that Agony’s Bespoke clocks in at over an hour, and each song has a lot going on, so the patient will reap the rewards. Those who stick with Blighted Eye will find a mature, harrowing and well-constructed death metal album that leaves an indelible impression. If this is what these fellows are capable of on their first record, watch out world.
Denomination – The Last Companion
Release Date: September 13, 2024
Pull out the old chainsaws, for it’s time for some HM-2 death metal. Keeping those classic Dismember sounds vital and fresh is good for death metal as a whole, though some have done a disservice by dumbing it down and bastardizing it. We won’t give those acts any oxygen here, but instead, we’ll talk a little about a band who is doing it right in Denomination.
Their first album came in 2022 in the form of They Burn as One, itself being a fun and satiating sitting of death metal delight. Two years later, we’re onto record number two with The Last Companion. Expect a smidgeon of the same, but a tad tastier and meatier than the first serving.
“One Eyed God” is pure Dismember worship pacing-wise with the familiar guitar tonality, though not without variance, especially in the lead play. The main riff is as ruthless as an enraged leviathan, and if a song nails that, they’ve got something. Thankfully, The Last Companion is a riff machine, churning out chugging downpicked bliss at every turn. Vocalist Oliver Heil grunts with the forcefulness of a Martin van Drunen and the sandpaper delivery of Jörgen Sandström, putting in his best performance thus far. For the speed demons, “Return of Ancient Ways” and “State of No Thing” will suit ever so nicely, whereas “Cremation Ground” gives a sliver of that old school Asphyx feel that these ears often fancy.
Many props to the guitar tandem of Kevin Papandreou and Dirk Alberti, who have an obvious knack for the science of the mighty riff. The rhythm section is no slouch, either; bassist Tommy Surbeck and skinsman Anton Tischenko drive the thick, constantly aggressive rhythmic low end that is imperative for this style to work this well.
It’s true that there are a ton of choices out there currently to get one’s death metal fix, and there’s plenty that yours truly can barely get through 10 minutes of. Denomination fly the classic death metal banner high and proud, while putting their own touch on a genre that’s enjoying quite the resurgence. The Last Companion avoids the pitfalls that trip up so many others, simply by making interesting, immensely enjoyable death metal that’s never tiresome and easy to lose oneself into.
Servant – Death Devil Magick
Release Date: September 20, 2024
Looking for frills and all kinds of fancy trinkets? Those won’t be found here, though if melodic black metal that gets all of the major elements just right tickles one’s fancy, look no further than Servant. Last year’s Aetas Ascensus was a ferocious Scandanavian-esque second wave romp, and this year’s Death Devil Magick is of the same proclivity. Maybe just a hair tighter, the riffs a little more memorable, and a similar level of frenzy.
That first blistering, frighteningly catchy tremolo erupting from “Temple” – still burned into my brain, mind you – slaps Servant’s cards onto the table. Settling into a mid-tempo churn, we move along at a steady clip, sans a brief interlude to set up a brisk, pacey finish. Vocalist/guitarist Farago traverses between differing deliveries – from raspy growls, huge bellows, and the occasional howl and shout. He traverses between styles instantly, right when the music rightfully calls for it, resulting in an emotive tinge that adds serious depth. Entries such as “Devil” have a bit of black/death stomp in them, driven by delicious leads – both compliments of Farago and his string-wielding cohort Samael. Furthermore, Servant possesses the instinct of when to allow a song to breathe – the aforementioned “Devil” taps the brakes enough to allow for a scrumptious solo, while “Fury” steadily increases tension from the start, leading to a fantastical crescendo.
There’s no question that these Germans “get it” when it comes to delivering exciting, raucous black metal. There’s enough melody and differentiation in tempo to not get stuffy or exhausting, while simultaneously providing chilling and brisk black metal that awakens the ice in the old veins. Servant have an album in Death Devil Magick that’s immeasurably potent, cunningly composed, and precisely executed to deliver us an album full of classic black metal furor. It’s like eating a ton of good Halloween candy, but without the stomach ache and any of the guilt. Servant are going places.
Ars Veneficium – The Lurking Shadow of Death
Release Date: September 27, 2024
We’re staying on the black metal train, with our next stop arriving in Belgium for a heavy dose of Ars Veneficium. They too swim in the melodic black metal waters, airing to lean heavily into a sinister aesthetic and sound profile. If unfamiliar, they’ve managed a steady ascent since their debut LP The Reign of the Infernal King in 2013. Now at their third full-length The Lurking Shadow of Death, the duo have the accelerator firmly planted and intend to take no prisoners.
Ars Veneficium are quite adept at melding mystical melodies with a cutting edge, all while defined by S.’s signature gravely rattle. His vocal performance remains a key piece of the project’s allure – from enormous howls and deep rumbles on “De glorie van dood” and “One with the Cosmos” to deep, intimidating roars via “Into the Void.” The guitar work also possesses significant bite, with the riffs being as substantive and strident as ever. “My Tomb Under the Stars” is a prime instance, latching on quickly and enveloping the listener into a starry audible portrait that’s an unrelenting menace, while also enchanting with gorgeous overarching melodies. That leads us into the songwriting quality, showcasing deeper immersion via compositions that are exceedingly further captivating than previous albums, which were certainly no slouch in this crucial department.
To put it as bluntly as Ars Veneficium do with their uncompromising vision of malevolent black metal, The Lurking Shadow of Death is the band’s high water mark thus far in a career that has progressed naturally and absolutely with each subsequent release. This is an incarnation of black metal that’s concurrently refined and savage, with a cosmic atmosphere that elevates the music to the next logical stratosphere. Take Ars Veneficium lightly at your own peril. We certainly will not.
Endonomos – Endonomos II – Enlightenment
Release Date: September 27, 2024
Austrian doom quartet Endonomos are relatively new to the scene, but that won’t stop them from making a sizable imprint. Their self-titled debut piqued the curiosity of many, and the sophomore release titled Endonomos II – Enlightenment should allure more ears to their traditionally leaning death/doom stylings. True enough, their new record further emphasizes the band’s ability to churn out gargantuan riffage amongst a diverse vocal attack.
The hallmark of Endonomos for this writer is bassist/vocalist Lukas Haidinger’s vocal approach. His back-and-forth swings between death metal inspired, cavernous growls and booming cleans bring dynamism to the band’s consistent onslaught of thunderous rhythms and weeping leads. Songs such as “Atheon Anarkhon” showcase those tradeoffs particularly, supplying contrasting moments that captivate the listener. Furthermore, Haidinger’s clean croon doesn’t soar; rather, it reverbates and enraptures in its thunderous presence. Rare it is to hear this level of dominating presence in a clean vocal delivery – an attribute that can separate the top-shelf doom slingers from the pretenders.
Opening salvo “Inversion” amounts to nine minutes of gruff doom bliss, smashing the listener over the head with riffs the size of mountains and mournful despondency that tears one’s soul to shreds. There’s plenty to sink one’s teeth into, yet the album moves by quickly. Music that can be felt is the kind of elixir this seasoned veteran will seek out in perpetuity. When crafted this well, it should be celebrated and spread far and wide.
It’s glaringly obvious that Endonomos pour everything into their music, and if Endonomos II – Enlightenment provides any clue, the band’s limitations are impossible to see at this juncture. They’ve got the chops, the compositional quality, and every element big and small finely tuned. I challenge you to find a doom album released this year with more personality. Endonomos is the real deal; essential listening for lovers of both classic and the deathier sides of the doom equation.
Keitzer – Pandemonium Humanitas
Release Date: September 27, 2024
We finish with an obscenely destructive album of resolute death metal, courtesy of a German stalwart that’s been doing this for a long time, without the well-earned accolades for it. Many may be unaware, but Keitzer has been tearing hapless vict…, er, listeners, limb from limb since 1999. Your eyes didn’t deceive – they’ve been doing this for a two-and-a-half decades, and among their seven full-lengths to date there’s nary a dud to be found. This year, we’re up to album number eight, and Keitzer’s first in five years in the form of Pandemonium Humanitas. We can assuredly say that the streak continues.
Occasional contributor and resident baldy KevinP brought this album to our dear Islander’s attention, and he was quite taken by it. There’s traces of more recent Benighted to be heard within the grind influences, alongside a hint of Misery Index in the idea of their full-on aural assault, with plenty of classic, and even blackened elements at times – especially on “…Of Eden.” The tone for Pandemonium Humanitas is set instantaneously via “Our Funeral Pyre” by way of a death/grind wall of sound incursion of the senses, with a tasty helping of early Entombed style riffing. Keitzer nails the balance of pure ferocity ala Anaal Nathrakh and the death metal chops of the classic Swedish sound akin to Grave.
We’ve thrown out a lot of comparisons, mind you, and it must be said that Keitzer manages to brew their own concoction that tastes delightfully unique and strikes with reckless abandon. From crunch-fueled pieces like the title track and “Scavenger and Woe” to more frantic songs such as “In Darkness You Feel No Regrets” and the appropriately titled “Scorched Earth,” the variety of destructive methods is plain to hear. To top it off, take a gander at the latest Paolo Girardi masterpiece adorning the cover. I need this on a shirt.
Keitzer have well since earned some respect to be put on their name, and there’s no time like the present, right? Pandemonium Humanitas is like a legit gelato shop in a small Italian town. There’s a ton of flavors, and no matter what you select, it’s going to be decadently delicious, and you’re going to want more. Odd analogy, maybe. Is Pandemonium Humanitas that good? It absolutely is, so pick this thing up, and put it on repeat. Your ears will thank you, and you get to feed KevinP’s ego. We see no downside.
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