Funeral Rain Press Corps

Genre: Progressive Black Metal
Label: Southern Lord

Pushing black metal into further left field regions, while keeping it firmly rooted in it’s origins can’t be an easy feat. But Wolves in the Throne Room seem to do it just fine, perhaps even making it an easy feat after three albums and two demos before Celestial Lineage.
Musically, this album is beyond what many people would call black metal. WITTR are taking cues, it seems, from Isis (whose own Aaron Turner makes chanting appearances on “Subterranean Initiation” and “Permanent Changes in Consciousness”), Xasthur, Leviathan, and even touches of Godspeed You! Black Emperor and Junius with some classic American rock leanings, as well as Darkthrone, Celtic Frost, Emperor, and even Dimmu Borgir at times.

The artwork for Celestial Lineage is amazing. Photographs, presumably taken near Calliope, depict a peaceful, beautiful rural setting, with Nathan and Aaron in the distance in a falling-down forest on the back cover. The sleeves for the records are equally photographed, featuring mountains, forest, and a deforested area as well. The vinyl itself for both records is some of the blackest I’ve ever seen, the sheen on it is magical, and at 180gm the platters have a good weight.
In all, it really meshes together, the physical beauty of the records and the auditory beauty that is on the records.

“Thuja Magus Imperium” is in many ways a classy black metal song. It starts off ambient-infused and has Jessika Kenney singing wonderful vocals, then Nathan takes over with his blackened lungs and riffs. A wonderful solo happens in it, which in the notes is called the “Black Acid Solo” (a perfect name for it), and it’s performed by Milky Burgess. The main riffs are reminiscent of slower Darkthrone, with a very haunting quality to it that brings Emperor’s Anthems to the Welkin at Dusk to mind.
“Permanent Changes in Consciousness” is very much an ambient track, with wind and meditative chanting being the main sounds. There is a wonderful underlayer of percussion and windchime-esque sounds. Lovely, but far too short for such a great ambient gem.
“Subterranean Initiation” starts off fast and hard, keeping the wind sounds but turning them into a gale rather than a breeze. If the more cinematic elements of modern Dimmu Borgir were performed by Celtic Frost, this song might result. Very strong riff structure that moves you along, rather than allowing you to come with it, is combined with beautiful keys. All of this gets stripped away for a short time, however, and we are left with only a bare guitar momentarily, and the song slows right down for about a minute, only to return to it’s Celtic Borgir beginnings. Faith Coloccia does additional chants on this song, with Timb Harris writing and performing the “uprooting string arrangements”.
“Rainbow Illness” is another instrumental, led primarily by keys and possible field recordings. Really good, but again, too short.
“Woodland Cathedral” seems to be the baby of Jessika Kenney, with her taking control of choral vocal performance, arrangement, lyrics, and organ. The woman is amazing, her voice strong and uplifting, while her organ work really brings you down to earth. This is almost in no way a black metal song, other than the undertones of guitar, bass, and drums, which slowly come closer to the fore, which makes it even more of a black metal song, to me. This song really reminds me of parts of the Treasure album by Cocteau Twins.
“Astral Blood” starts off as a total second wave black metal song, with riffing and drumming sounding like a drier Darkthrone, until the keys kick in at least. Then it becomes all Wolves in the Throne Room. Thick vintage tone comes from their amps, and analog synths bubble up; no longer is this dry. Wet with emotion, “Astral Blood” may well be my favorite song on the album. I love the harp/wind section by Zeynep Okyu Yilmaz at the 4ish-minute mark. It’s just so moving, it’s hard to concentrate on anything else. Honestly, this whole song is like that. It definitely pulls at the heartstrings.
“Prayer of Transformation” picks up on the ending of “Astral Blood”, then morphs into it’s own lumbering beast. The entire song moves at a slow pace, bringing a doomy flavor to the occult lyrics. The synths are just brilliant, and what I think is more field recordings make quiet undercurrents throughout. There is nothing extreme about this song, except Nathan’s vocals, but the whole is extremely moving. I could sleep to this, and perhaps have the most pleasant dreams of bringing the dead back to golden life. The ending is great, with the keys and guitars coming up into a crescendo, then dropping off into ambiance for about a minute.

This is where, as the final record begins to click the fact that it is over, you turn off your record player, take off the record, put it back into its sleeve, and put the first one on the turntable again, and take the spiritual and emotional journey once, or even twice more. I could listen to this album, and only this album, for days. It is spellbinding and gorgeous. Beautiful. Perfect.
10 out of 10.

Wolves in the Throne Room on Facebook.

Where: Starlite Room, Edmonton, Alberta
When: October 7, 2011

Last night I was expecting only to see one band, Alcest, but as it turns out I got to see two.

Junius opened up the show with their brand of American post metal. Isis, Pelican, and Deftones all smashed up together into a gorgeous, heavy blend. These guys are phenomenal live, and even Mrs. Blaspheme is a certified fan now. I hope they feel their reception was good enough for them to come back to Edmonton soon, because I know I’ll be there, at the front. We definitely grabbed one of their CDs on out way out, The Martyrdom of a Catastrophist, as well as a pair of patches.

After Junius awed the crowd, Alcest took the stage with a very warm reception. There were quite of people there for Alcest, rather than the headliner. Neige and his full band (I wondered if he would have a band as the albums are pretty much just him and drummer Winterhalter) were quite the atypical stereotypes of Frenchmen: quiet and polite, rather than loud and polite. And not a cigarette was lit once the whole set! I wish I could have filmed Neige say “We are Alcest from France”, it was the perfect introduction to them.

This is another band that Mrs. Blaspheme has come to love, just as I told her she would. Shoegaze and black metal combine to create a mesmerizing effect on the listener, and the viewer too. I wondered how Alcest would translate live, and they translate just fine. Deep fog shrouded them most of the time, with blue backlighting outlining their obscured forms, but on occasions where the fog dissipated, the whole band was smiling, really feeling the music and the crowd. Along with the Junius CD we left with Le Secret on vinyl and Écailles De Lune Digipak CD.

After Alcest Enslaved were going to play, but we had to leave before then. Which, I must say, is not to slight Enslaved. Rather it’s because we work too much and had been up at four in the morning and had to get up again at five. So a late night was not going to be possible, as my eyes were heavy before Junius even. Also, to be honest, we’ve seen Enslaved before, opening for Dimmu Borgir on their last trip through town, and it was awesome. So hopefully they come back again soon because I would love to see them again. Sorry guys. Next time.

In all, it was a near perfect night. The only blemish on the proceedings was the “7 o’clock” doors (7:45ish) and the 9:15 start time. If only Starlite actually opened their doors when they said they would. Also, if only they weren’t still purporting that Ghost were to be playing the show. Junius were their replacements.

Genre: Shoegaze
Label: Hydra Head Records

I grabbed Jesu’s Silver E.P. on a whim one day. I’ve heard tons of great things about the band, and Justin Broadrick in general, and the CD was a 2 for $30 at HMV, so I grabbed it. And wow, I’m so glad I did, and so is my wife.
The album reminds us of My Bloody Valentine, which is a very good thing, as both of us are huge fans of MBV. I thought it would have been a much harder listen, but apparently the two albums that came before this one were, with Broadrick taking a more poppy approach this time.
The songs have a simplistic bass riff, with swirling guitars that are distorted and heavy, but the true weight comes from Justin’s voice. He’s a great singer, and he really knows how to use what he has for maximum effect. The lengths of the songs themselves are all six and a half minutes or longer, with “Wolves” at 8:27, but like good, well written longer songs, they don’t feel overwhelming or begin to drag on.
I’d recommend this gorgeous E.P. for fans of Broadrick’s other work (Godflesh, Final, Napalm Death), shoegaze fans, and fans of Pelican, Isis, Cult of Luna, etc., as well as fans of Nine Inch Nail’s The Fragile album. There are definitely elements inside of the song “Wolves” that remind me strongly of The Fragile.
9.5 out of 10.

Jesu Official Site

Genres: Ambient, Metal, Rock, Shoegaze
Label: Independent

A CD that was unexpected in my mailbox, Auternus was not unwelcome. Their soundscapes are very much reminding me of a cross between A Perfect Circle, whom they cite as an influence, and My Bloody Valentine, with some Isis for flavor.
According to their promo package, they’re playing a lot of shows, getting distributed, and just all-around trying to get their music out there. These guys are working their asses off, and I’m sure that if I didn’t review this CD, you’d still hear about them in time.
If you’re into ambient that’s not boring, or metal-edged rock that makes you think a little, check out Auternus.
7 out of 10.

Auternus on MySpace.

Candlelight Records today confirms October 26 as the North American release date for The Isolationist, the new album from Krieg. Recorded at Volume Studios in Chicago, the nearly hour-long album will challenge the listener with its primitive yet complex sound. It is Krieg‘s sixth full-length recording, and the first since 2006’s Blue Miasma.

Working with producer Sanford Parker (Nachtmystium, Pelican, Yakuza), The Isolationist finds Krieg further experimenting with sound. The rage and dissonance fans have come to expect from the New Jersey band emerges even more frenzied making the journey through this album far more intense than on previous efforts. Vocalist Imperial admits, “The Isolationist presents Krieg at it’s most evolved yet primal state thus far in fifteen years of causing problems for people’s hearing. It is my ugliest and most personal child, going deep into the darkest places in my own history on earth. I’m a fucked up wreck, and this record shows that.”

The Isolationist features performances from guitarist Joseph Van Fossen (Noctuary), bassist Wrest (Leviathan), and drummer Chris Grigg (Woe). “It was an intense process, considering everyone only had a few days in and out due to their own hellish schedules. I was fortunate to work with dedicated artists who each brought their own identity to the project and a good understanding behind the meaning of the record.”

Krieg has been an integral part of the American black metal scene since forming in 1995. In addition to their full-length albums, including 2003’s acclaimed The Black House (which Terrorizer Magazine noted it as “one of the ten most important American black metal records”), Krieg has recorded and released numerous demos, split and live recordings. Fans tally more than 40 individual items as part of the band’s creative efforts. In addition to Krieg, vocalist Imperial has several other band projects including N.i.l., Apothecary.Sound.Lodge and his doom band March Into the Sea. He is also a member of Twilight which features members of Nachtmystium, Leviathan, The Atlas Moth, Isis, Minsk and more.

The Isolationist Track Listing:
1. No Future
2. Photographs from an Asylum
3. All Paths to God
4. Ambergeist
5. Depakote
6. Religion III
7. Blue of Noon
8. Decaying Inhalations
9. An the Stars Fell On
10. Remission
11. Dead Windows

Krieg on MySpace.