OBSCURITIES – VOLUME XI: CHAOS REIGNS

(Daniel Barkasi returns to NCS with another monthly roundup of reviews and recommendations, this time focusing on eight albums released in October 2024.)

I don’t want to harp on this for too long, as NCS is an outlet that many use as an escape from the perils and frustrations of day-to-day life. We choose to reside within the realm of positivity, embracing the music that we collectively love. However, as someone who steadfastly believes in honesty, truth, facts, science, and logic – the US just by a razor-thin majority decided to embrace disinformation, fallacy, wild conspiracy theories, and authoritarian populism.

It’s sad, and it will harm people. People that we love and care about. If we want to get practical, it’s going to hit the pocketbooks of US citizens hard. Healthcare – while already a cruel joke – could get a whole lot worse. As a type 1 diabetic who is dependent on artificial insulin to exist, it’s scary. A lot of folks are scared, and rightfully so. Fundamental rights have been already taken away, and there’s plenty of risk for more.

Aren’t we tired of living in interesting times? Personally, bring on the quiet, boring, and mundane. Just not in our music.

I do want to implore you lovely folks to buck current trends, and stick together as much as possible. Build and participate in communities. Communities like this one that do a lot of good for our enjoyment of life and boost our mental health.

Music is at my very core, and I’m sure it is for whoever is reading this as well. Embrace it further; indulge in things that you love. Don’t put your head in the sand and ignore what’s going on around you, but things like music are a healthy part of our lives that can help one get through difficult moments. Practice love and kindness as best you can, even with those who don’t always reciprocate it. I try to go by the whole “Kill them with kindness” mantra, and it can work. Not always, but hey, such is life. Some certainly won’t expect it, and maybe it’ll make them look inward and reflect a little.

Let’s dive into album releases from the month of October. This was the most difficult month thus far in 2024 to make selections. I could include 40 albums here and still feel like there was something missed. We’ve got quite the variety of black metal this time, a smashing bit of cosmic death metal, a highly unique doom record, and some shredding melodic death that slipped under a lot of radars. You know, the usual cornucopia of madness that makes these earholes blissfully happy. Hopefully, you’ll find a release here that’ll make you feel the same. Keep on keeping on!

 

Asarhaddon – Êra

Release Date: October 4, 2024

We begin with Germany’s Asarhaddon, whose melody-infused black metal takes on intriguing subject matter to weave their wild yarns. Their debut Reysa contains six songs, each represented by six skulls, adorned on the album art, to represent six different birds to symbolize aspects of death within nature. A similar thought is utilized on their latest, Êra. A description via their Bandcamp page states that the album “tells the stories of four kings and is based on true events in history,” with each song representing one of said monarchs. Further details of which can be read here.

Needless to say, a significant amount of care has been put into the concepts of this record. Thankfully, an equal amount of attention has been given to the musical arrangements contained on Êra’s four exquisite tracks.

“Der silberne Mond” explores Shalmaneser III of Assyria with a deft touch and an incessantly catchy melody that drives the track’s near 12 minute runtime. Asarhaddon invokes abrasive atmospheres while cultivating a somberness that’s earthy without becoming tiresome. The album’s vocals are done by Nova (also of Convictive, who released a really solid record this year), being listed as a session member. She puts in a phenomenal performance; from chilling shrieks and emotive wails, she adds immense personality and gravitas to the band’s tense atmospheres.

Starting with eerie strings briefly before launching a scintillating black metal riff is “Im tiefen Wald” to tell the intriguing tale of Commius. The sublime guitar work is paramount, with Christian Koss showcasing a keen ability to weave thick atmospheres with razor-sharp tremolos to dictate the pace while entrancing the listener. Drummer Christian Kircher possesses an ability to dazzle while maintaining a steadfast percussive boom, giving Asarhaddon the rumbling low end that’s oftentimes forgotten in this style.

The standout entry for yours truly is “Ein letzter Frühling.” That intensely poignant guitar riff and the slowed passage starting at around 6:30 provide ample shivers, giving a glimpse into the life of Empress Suiko.

Traveling to the Aztec Empire to complete Êra is “Die roten Vögel” – a harrowing piece about Nezahualcoyōtl that gallops along steadily through its 18-minute runtime via multiple tempo changes and hair-raising moments (the acoustic interlude is gorgeous) to keep one engaged. This isn’t a record for the impatient, as the spoils reside within such finite details.

Those who adore history and gripping long-form black metal will find much to love in Asarhaddon’s sophomore yarn. Wherever they go next, we’re here for it.

 

 

Cosmic Putrefaction – Emerald Fires Atop The Farewell Mountains

Release Date: October 4, 2024

Gabriele Gramaglia is one busy dude. He has multiple projects that have dropped fascinating albums in recent times – Vertebra Atlantis’ A Dialogue with the Eeriest Sublime last year, while also joining Hadit, who released Metaphysical Engines Approaching the Event Horizon back in March. Now jumping back to his cosmic death metal project Cosmic Putrefaction for album number four in Emerald Fires Atop the Farewell Mountains.

Those are some lengthy titles, but to be fair, they meet the blissful immersion that all of his burgeoning discography has provided thus far. Cosmic Putrefaction may be his most recognizable project; seeking to craft music that turns death metal on its proverbial head, bringing outstanding creativity to a genre that lately has seen some relatively uninteresting stuff get rocketed to the forefront.

Take a gaze at the cover art from Khaos Diktator (aka Stefan Todorović of Gorgoroth and Nadsvest). Absolutely stunning, and a more fitting piece of artwork to represent the abstract death metal platter on offer couldn’t be imagined. The thick cacophony of fast-paced, spacey guitars and bleak screams enrapture via “(Entering the Vortex Temporum) – Pre-Mortem Phosphenes” to begin proceedings. Yes, the song titles are super long, too, but as a gabby windbag myself, who am I to judge?

“I Should Greet the Inexorable Darkness” changes faces throughout with off-kilter time changes, varying vocal approaches, all while providing an atom-smashing level of power. Progressive tidbits and quick doses of melody give ambience within “Swirling Madness, Supernal Ordeal”, while “(Exiting the Vortex Temporum) – The Clearing Path” drips with carefully placed grandiosity amongst the blackened pummeling.

The concluding title track takes an initially measured approach, swelling with an emotive calm build by way of clean guitars and ghostly cleans, then exploding with some of the heaviest moments of the album, before ultimately combining all of them together to sign off in style.

Each of the seven tracks on Emerald Fires Atop the Farewell Mountains conjures its own vision into the abyss, with an overflow of technical musicianship woven into a tapestry of creative song structures and an overarching atmosphere of a cold, black void.

One of our cats is a long-haired black cat named Akasha, who we’ve nicknamed Void – if you know, you know – and she heartily approves of this album. So should you, and any other fan of death metal that happily jettisons the rules to concoct music that’s wholly its own menacing being. Gramaglia is a mad scientist of heavy sounds, and his most recent effort under the Cosmic Putrefaction moniker is another example of his keen ability to provide mind-bending heavy music that sticks.

 

 

LIVLØS – The Crescent King

Release Date: October 4, 2024

Denmark’s contributions to metal music are immense, and lately the quality keeps on coming. One act that we’ve been enthralled by is the melodic death metal band LIVLØS. Stumbling upon their second album And Then There Were None back in 2021 was a revelation, and we’ve been hooked since.

The band’s third record The Crescent King is an ambitious concept – a story about a king who discovers the good and darker sides of themselves and the human race while traversing the cosmos and time itself. Musically, the band also had high aspirations, aiming to dish out their most expansive album thus far.

At its core, The Crescent King is an incisive, hard-hitting melodic death metal record that at times reminds of early At the Gates and that landmark early ’90s style. LIVLØS opts for vicious guitars, huge riffs, and harmonies that are a tad rough around the edges (in a great way). The blistering duo of “Orbit Weaver” and “Scourge of the Stars” epitomize this approach, erupting violently with a six-stringed onslaught containing a slight blackened edge amongst the menacing riffage and vocalist Niklas Lykke’s guttural growls and raspy-yet-forceful screams. All those elements considered, these Danes are far from a one-trick pony.

The title track swims in mid-paced death metal waters, layering booming rhythms with tense lead passages that bind together effortlessly. “Usurpers” gives a melodeath mixed with crust energy, whereas “Harvest” slows the pace to provide a doom-inspired purview in moments. Even “Throne of Cosm” gives a few deliciously thrashy morsels.

With all of these varying elements, the question of focus may come to mind. Fear not, as there’s a coherence to The Crescent King that doesn’t stray far off the path, but rather enhances by way of intriguing and finely executed stylistic choices. LIVLØS still embrace all of their searing melodeath fundamentals with laser precision, while incorporating new thoughts and directions that aid in keeping the music interesting, befitting of the narrative the band are here to tell.

Looking forward, we eagerly await where they go next, while nodding along approvingly to the soundtrack of that star-hopping monarch.

 

 

Ghostheart Nebula – Blackshift

Release Date: October 17, 2024

 Thinking about it, this column has started with an unintentional cosmic theme. Continuing down that starry pathway are Italian death/doom purveyors Ghostheart Nebula. Their 2021 debut Ascension is an underrated doom behemoth, giving a melodic and emotive touch to their earnest musical expressions. The next step is Blackshift, an album that takes everything the band established three years ago and makes a huge leap forward in all conceivable ways.

Ghostheart Nebula combine the bleak ambience of Darkspace and the emotional qualities of Saturnus to concoct their own brew of sorrowful, impactful doom. The band assaults one’s heartstrings with chilling melancholy, vastly layered compositions, and immeasurable tension. After a brief and immersive intro, “Sunya” brings the sorrow with gobs of atmospheric guitar work courtesy of Aron Corti and Nick Magister. Layered and tradeoff vocals between the deep bellows of Maurizio Caverzan and the soothing, airy singing of Lucia Amelia Emmanueli provide not only wonderful contrast, but a calculated and progressive approach that gives a standout factor that is one of the band’s biggest strengths.

“Naught, I” is loaded with uneasy suspense, along with a spoken-word excerpt from Carl Sagan’s famous “Pale Blue Dot,” leading to a crescendo of unfettered despair. “Infinite Mirror” contains what may be Emmanueli’s most compelling performance, with equally convincing songwriting to round out an inspiring piece of music. “Traces” rumbles with melodic doom majesty, while “Orphan of Light” epicly signs off in vast fashion, fitting of a grand space odyssey.

Ghostheart Nebula write about complex scientific concepts, yet do so with bombast and a soulfulness that are difficult to match. Blackshift is as compelling and smart as it is pensive and gloomy. These are all good descriptors for a band of their ilk, naturally, but the detailed care given to the construction of their music is what puts these Italians into the stratosphere.

If doom is in any way your fancy, and even if it isn’t your first genre of choice, we implore you to give this release a chance. It’s a special album that is an absolute contender for many accolades this year.

 

 

Gorebringer – Condemned to Suffer

Release Date: October 18, 2024

If it isn’t blatantly obvious, with a name like Gorebringer their subject matter is… relatively obvious. What’s surprising is the musical direction they’ve chosen, and therein lies some of the charm.

With a name like that, you’d expect an old school death metal act, right? Nope, these three dudes instead harken to the melodic death metal area, albeit an abrasive and ruthless variety. It could be said that they take the heaviest pieces of melodic death, keep the melodies, and add slivers of crunchy old school Stockholm death metal with a blackened tinge to the recipe. They’ve always brought a grisly fun to the genre, and with their third full-length Condemned to Suffer, they’ve unleashed their most heinously enjoyable monstrosity.

Gorebringer don’t utilize slower, progressive pieces like some other melodeath acts do, but instead go full bore with speed, heft, and blazing melodies. Expect a ripping good time, as selections like “Under the Full Moon’s Pale Light” blast off with drummer Carrion’s dizzyingly quick and forceful skin beats. Guitarist Stench doesn’t stink up the joint, but rather jumps about between shredding rhythms and dialed-in and furious lead/solo work.

There’s glimpses of the more of that glorious chainsaw tone present in “Condemned to Suffer” with vigorous guitars and throaty growls. These elements are quickly met with melodious leads and harmonies, never straying too far from their melodic death side. Vocalist and lover of the umlaut Blööd Wörm possesses a scream reminiscent of Gates of Ishtar/The Duskfall vocalist Mikael Sandorf’s massive scream, exemplified on “Infernal Symphony” and “Visions of Terror.” “Théâtre of the Grotesque” graciously rips into some of the tastiest leads on offer, with “Embodiment of Aggression” being a tour de force of blunt savagery and slick guitar work that never quits.

Prepare to have a bloody, carnage-filled good time with Condemned to Suffer, an album that doesn’t take itself too seriously, but also delivers a melodic death metal experience that is almost never this brutal and cutthroat. The album’s just over 40-minute runtime feels more like 25-30, and before you know it, you’re repeating this mean bastard gleefully. Gorebringer figuratively and literally carve out their own niche here, to which we’ll gladly sign up to be Condemned to Suffer over and over again.

 

 

Avtotheism – Reflections of Execrable Stillness

Release Date: October 25, 2024

Maniacally brutal technical death metal without all of the tropes that can make the genre a heaping bore, you say? Sign this fellow up. That’s what we have with the eclectic Avtotheism, whose playing ability is off the scale, all combined with unrestricted insanity and clever song construction.

Following a quality record in 2021’s The Sleeper Awakens, we have a sort of hybrid release for their second full-length, Reflections of Execrable Stillness. The first four songs are new tracks, while the fifth was an ambitious single released back in 2018 that’s being resurrected here due a connective theme. The first 4 songs revolve around man’s connection to nature, while the aforementioned track “Dogma Sculptured in the Flesh” depicts man’s connection to God.

The new stuff is a dense wall of technical dissonance, hovering like a monolithic dark cloud of suffocating guitars and a thumping low end. “Multitudes of the Sands I” starts with delay-filled clean guitars, soon accompanied by buzzing bass and a wall of guitar rhythms. Vocalist P. is armed with a mighty snarl that’s dominant and assertive, giving the increasingly chaotic instrumentation a needed focal point.

Wildly aggressive in its beginning is “Multitudes of the Sands II” where the atmospheres creep in at the 2:30 mark, twisting the listener in many differing directions. “Incarnations of Hush” gives a similar level of discontent, though more meticulous and maniacal, while “Upon Wrecks of Desolation” is an unsettling ambient piece that acts as a bridge to the 17-minute “Dogma Sculptured in the Flesh” – an unhinged composition that is as completely unpredictable as it is fierce.

What Avtotheism ultimately have accomplished with Reflections of Execrable Stillness is to whet the appetite for more from this mysterious trio. The new material sort of amounts to an EP, and by itself is an impressive four-song collection, while the inclusion of a lesser heard monster of a song that fits together with the theme is a cool way to further display the band’s creative muscle. They have grown since that track was recorded in 2017/2018, yet maintain the same elements that make this project work so well. Reflections of Execrable Stillness is absolutely worthy of your precious time, and hopefully we’ll hear more in the not so distant future.

 

 

Blasphemous – To Lay Siege and Conquer

Release Date: October 25, 2024

Philadelphia’s Blasphemous have been whipping up razor-sharp, euphuistic blackened death metal for slightly more than two decades. Vocalist Ron Kaiser is the lone founding member and the engine of the band, and the ensemble’s best overall lineup no doubt is the current one (most of the band have been with him since 2016). The first record we came across was Emerging Through Fire in 2018, and we’ve been following closely since. Six years later, we finally have the latest – and the band’s fourth LP – To Lay Siege and Conquer.

This is 100% pure, feet to the fire, feral black/death metal that is all about forward momentum and leaving a permanent imprint. Each track is a veritable flurry of gritty, merciless, crunchy blackened glory. The title track provides a stomping march before jumping into a full-speed black metal attack, with a tasty hint of melody for good measure. There’s a speed metal defiance in the band’s sound profile that continuously seeps to the surface, making To Lay Siege and Conquer an album overflowing with attitude and splendid guitar dynamism.

Entries like “Martyr Complex” represent this mixture well, where there’s a sizable slice of melodic black metal in tracks like “Son of the Forsaken” and “Spiritual Enslavement.” A slower tempo on “Dead and Still” allows for a brief bit of breathing room with multiple black/doom bits, while the remaining two songs mostly are punishing whirlwinds of tremolo-fueled exhibitions. Throughout, Kaiser’s cold screams prove to be the glue that holds it all together, firmly maintaining momentum throughout.

Blasphemous may not be the first name on the tip of the tongue when thinking of the heavy hitters of black/death metal, but with records like To Lay Siege and Conquer, the question of whether they should be ought to be asked. This record is a blast, full of fervor, and will without question tear through anything that dares obstruct its path.

 

 

Aelvica – Aelvica V: Vengeance

Release Date: October 31, 2024

We’re going to finish up with an artist and an album that came right out of absolutely nowhere – meet Aelvica. Geographically, they’re close to our current whereabouts – listed as Pinellas County, Florida, which is the Clearwater area. Not exactly where one would expect a mysterious, ethereal black/death metal project to spark from. However, that’s the beauty of our sort of music – it can come from absolutely anywhere and from anyone.

Utilizing the name of The Narrator, the man behind this and the long-running Anthems of Gomorrah is Tucker Kilpatrick, and bloody hell has he been a busy bee. With Aelvica alone, he released six albums in 2023, and has dropped a full-length and two EPs before this write-up’s subject of Aelvica V: Vengeance.

Each album has been a chapter set inside a fantastical fictional universe that has been created for this project, showcasing the level of detail that has been given. The results certainly show it; Aelvica IV: The Curse was a heavily layered, dense affair, resulting in an avant-garde and ambient composition in parts, while also boasting its share of melodic and crunching death metal moments. Aelvica V: Vengeance continues Kirkpatrick’s experimentation with opaque, complex structures.

“Pillars of Autumn” delivers an epic black metal stylization to set the stage, transitioning seamlessly into the galloping melodic powerhouse “Scáthánnâ.” Leaning into the death metal side are cuts like “Oathsworn” with its plethora of biting rhythms, contrasting with selections such as “Celestial Scepters” via pounding guitars melded with infectious blackened tremolos. A personal standout is “Doârian Blades at Dawn,” by its virulent, cutting melodic black metal atmospheres and chilling screams.

Aelvica has amassed a large discography in an extremely short period of time, yet there seems to be an endless trove of ideas and creativity oozing out of every pore. At the core of Aelvica V: Vengeance is an icy melodic black metal heart, layered with death metal brutality and a penchant for innovation. It’s hard to put a finger on where the project will go next with the inevitable chapter VI. We’ll expect the unexpected, and will no doubt have our expectations delightfully subverted.

 

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