Yearly Archives: 2012

Black metal itself as a genre has always been closely tied to the landscapes. The scene so monopolised by the Norwegians whose corpse paint, and B&W imagery is firmly rooted in the stark black and white winter landscapes of a Norwegian winter.

Whilst Winterfylleth’s music is as bleak and biting as the best Norse offering, they root themselves in English heritage and the legends and saga’s of old Albion. They're named after the name given by the venerable Bede in the 8^th century to the full moon which marks the beginning of winter in what is now the month of October.

So, it's a full moon, its October, the autumn leaves are scattered across the ground and winter has indeed begun to fylleth. I’m sat here staring at the breathtaking northern landscape of Mam-tor (whose name graced a song on their 2008 release ‘the ghost of heritage’). 

The last few years have been a journey of discovery for Devin Townsend. The Canadian shed his former Strapping Young Lad skin, gave up drink and drugs, lost the infamous skullet and took to being almost always seen in public in a snappy silver-grey suit. It has also been a prolific period, with four albums issued that each reflected part of his internal process as a newly-sober man approaching his 40^th birthday. From the introspective “Ki” and “Ghost” opening and closing the series to poignant and sometimes aggressive moments on “Addicted” and “Deconstruction”, he has been exorcising his demons about life, the universe and everything. The series culminated in an extraordinary four-night stand in London last November when he played each album in its entirety and released a nine-disc box set, “By A Thread”, which is a very limited edition treasure well worth seeking out.

Dragged into Sunlight’s brand of misanthropy spreads forth from Liverpool like some dark disease, utterly terrifying and yet dangerously infectious. Widowmaker is Dragged into Sunlight’s first full release since 2009’s incredible Hatred for mankind: Although the band are keen to point out it isn’t a direct successor. 

Indeed It's difficult to relate Widowmaker with the raging slab of misanthropy that was Hatred for Mankind. It's difficult because as soul destroying and intense as HFM was, Widowmaker just towers above it. It's utterly mesmerising, captivating and like nothing else I remember hearing, a master class in suspense, tension that would have Hitchcock applauding and asking them how they managed to do that. 

If Satan himself made music, he’d struggle to create something as truly terrifying as Widowmaker. It really isn't for the faint hearted, I'll be surprised if it doesn't come

American black metal has over the last decade become something of a contested area, a battlefield of buzzwords and controversy in which terminology such as "hipster", "post-black metal" and other such frequently insulting and less frequently endearing descriptions and (sub-sub) genre tags are haphazardly employed, refuted and subsequently discussed. Bands such as Liturgy and Deafheaven and for different reasons artists associated with the Crepusculo Negro & Rhinocervs labels have over and over again been criticised and defended by a multitude of parties and in 2012 the argument has largely become over-burnt, stale and tired with many having quite simply stopped caring. 

A loosely congruent collection of musicians based largely, although surprisingly not entirely, in and around the Pacific Northwest of the USA have too been shown a particular degree of attention in recent years, with bands such as Wolves in the

Hailing from Reading and signed to Siege of Amida records in 2011, Ancient Ascendant are following rather hot on the heels of their excellent debut album ‘the grim awakening’ with this fantastic EP ‘Into the dark’. 

They are a refreshing blend of black, death metal and more than a casual nod to traditional Heavy Metal. When listening to AA, they immediately reminded me of modern version of late Finnish outfit ‘Gandalf’, but with guitar work which hints strongly at ‘Melechesh’. It is also immediately clear that AA are more than capable of writing songs you’re going to remember for a long time, and probably with a sore neck. 

Opening track ‘The veil’ is a rather nice, if sadly short, instrumental piece, which builds gradually, with some lovely guitar work. It’s evident immediately that there’s a

This E.P is the follow up to this U.S band’s debut album containing melodic black metal with folk influences. The debut seemed well received in the underground press and this new release continues on from where their first full length left off.

It opens with an instrumental track ‘The Mortal Flare‘, one of two on the release, which the very start reminded me of Primordial’s ‘Imrama’ album before changing tack. Once the main body of music kicks in you get the picture of what this band are all about. Fast paced drumming and guitar riffage proceeds the mid range rasping vocals, that at times become emotive and almost change genre in style, which carry you along on a melodic wave but far from being repetitive it interjects the speedier sections with folk elements; acoustic guitar finger picked, subtle hand patted drums and most notably the violin sections. New violinist Valcek, a change from the debut album, sweeps