Here's the playlist for this week's radio show Sirius XMU:
01. The Scrags - In the devil's hands
02. TALK 1
03. Boeoes Kaelstigen - Desolate view
04. Johnossi - Roscoe
05. Kimono - Tomorrow
06. TALK 2
07. Fun - Here comes the ugly man
08. Kite - Hexx
09. Mother of the Forest - Bränna broar
10. Mother of the Forest - Vid berget
11. TALK 3
12. Non Tiq - QUiet
13. Dead Letters Spell Out Dead Words - I could have sworn I heard them SING
14. Enslaved - Raidho
15. TALK 4
16. Säkert! - Riot
17. Kristofer Åström - Devil
18. Sweatmaster - Calling Satan, let me in
19. Mercyful Fate - Black funeral
20. TALK 5
21. Lighthouse Project - Lust for lie
Reminder: my show airs every week on Sundays and Mondays at 11pm ET on Sirius XMU. That's channel 26 on Sirius, 43 on XM and 831 for DirecTV subscribers.
The new Enslaved album "Axioma Ethica Odini" has been confirmed for release on September 27. Expect a preview to appear on myspace in four days or so: http://www.myspace.com/enslaved
I'm not the only one to loseinterest in black metal -- genre pioneers Ulver abandoned the genre completely once completing their monumental 3-album trilogy. Which is not to say they abandoned the dark arts completely; in fact, I'd say that some of their post-BM work is ever more black and twisted than "Nattens madrigal". It goes to show that even if you stray, there will still be lines drawing you back, though the news that Ulver mainman Kristoffer "Garm" Rygg's label was releasing a "pure" BM album by the band Nidingr still came to me as a surprise. Naturally, I was immensely curious -- though not all of Jester's releases appeal to me, they are always interesting and I knew I had to hear what was so exciting as to inspire such a return. Amazingly, for a label that prides itself on releasing left-field/avant music, Nidingr's "Wolf-Father" is straight-up orthodox: lots of blasting drums (courtesy of Hellhammer), tremolo picking and cold, dissonant riffs. There are a few standout points of interest though, and that's what makes it an exceptional release. First, the recording. On one hand, it's really flat and digital sounding and, to be frank, the drums are lame and unnatural/heavily triggered, but it's also all very in-your-face, especially the vocals. Also, the cleanliness augments the fact that it's a (mostly) unembellished recording, untainted by excessive and unnecessary overdubs. You can even hear the bass! Furthermore, so much BM is marred by ye standard issue reverb-drenched shrieking, but not here: Nidingr is all about raging screams placed front and center in the mix. Which brings me to my second standout point: the lyrics. Not that I could ever understand Enslaved's old Norse lyrics on their (superb) early albums, but I knew what they were about and I knew it was awesome; Nidingr mines those same Viking legends, but they disseminate it in English and they do it with unbridled fury. Taken as a whole, it's almost enough to get me excited about black metal again. Almost, I say, because I doubt anything else will match it anytime soon.
Black metal in 2010, part I. Did the genre desert me or did I simply lose interest? I've been listening to this new Withershin EP ("The hungering void") and pondering these questions because, while I can tell the music is good, I still can't force myself to care. Well-executed melodic Swedish black death ala Dissection...? There's certainly room for more besides Watain. And yet, I feel nothing. I don't mean that in an ironic kvlt way either -- I'm really surprised by my lack of enthusiasm. So where did things go wrong I wonder? The genre did go through a certain amount of growing pains around the turn of the century and now things seem pretty evenly split among two major strains. First, we have the upper-tier established acts who have been going at it for years, some more progressive than others (Enslaved, Mayhem), others more content to drift towards the mainstream (Satyricon, Dimmu Borgir and seriously, WTF is up with this nonsense?). Some just keep on keeping on (Dark Funeral, Marduk), a few decided to abandon the genre completely (Darkthrone sorta, yes Ulver). Then, on the other hand, we have the new BM underground which, from my point of view, seems all too willing to embrace and accept sketchy politics and increasingly shitty, poorly recorded music. A race to the bottom, as I've mentioned here before I believe. The fact that I hear the new Burzum is getting a third vinyl repress bums me out. That means that competent bands like Withershin don't have a place anymore and boring, jaded dudes like me will shrug it off. I think my major hangup must be the lack of mystery in today's BM -- 15 years ago these bands were legitimately terrifying and sounded barely human. They burned down churches and killed each other and lived way off in some distant land that seemed far beyond reach. I distinctly remember hearing Emperor for the first time and how it sounded like absolutely nothing I had ever experienced. Then, a few years later, I remember seeing Emperor's first video and how amazingly disappointed it made me. No longer the aural expression of pure evil, here were a bunch of average metal dudes making an average metal video and playing dress-up in the woods. To say nothing about how boring they were live when I eventually saw them on tour, but the magic was forever lost and bands like Withershin have no hope to reclaim that. I don't know what's to be done though. Has the grim masquerade run its course? Can we start smiling at each other and simply enjoy the music for what it is, not what it used to represent?
Listening to Norway, part 2. I'm still concentrating mostly on traditional folk records because that's more where my mood's at, but I am pulling a few other selections from the stacks, especially the ones that fall under the category "heard of, but never heard." Trinacria is a band I've always wanted to check out and I even remember hearing about them when they first got going, but somewhere along the line I dropped the ball and never investigated further. Not sure why though 'cuz their album "Travel now journey infinitely" is killer. For the uninitiated, here is a summation of the band as lifted straight from their bio: "Trinacria was originally a composition by Ivar Bjørnson (Enslaved), Maja S. K. Ratkje and Hils Sofie Tafjord (both from Fe-mail), commissioned by Rikskonsertene for a concert series. The line-up was completed by Grutle Kjellson, Ice Dale (both from Enslaved), Iver Sandøy (Emmerhoff) and Espen Lien. In short: after working together briefly, the composition turned into a vital project which, after touring, became a fully welded band." So yeah, in short: Enslaved + Fe-mail = awesome. Hardly a surprise, though sometimes the marriage of metal and noise is not so hot. Neurosis and Man is the Bastard were the first bands I ever saw who did it and did it well, many others followed. Cult of Luna is one, Pig Destroyer is another, and of course Bastard Noise continues to bring the brutality as only they can provide (check out the new Endless Blockade split if you haven't already!). Naturally, Trinacria lean more towards the epic, blackened end of the metal spectrum as would befit their pedigree, but song-wise, the structure is more postrock-like as they build the pieces into huge crescendos over repetitive riffs and escalating chaos. Any of the six tracks contain therein would probably make for a suitable intro to the band, but I think the title-track closer is best as it's the most epic of all this epicness. Definitely an overlooked gem.
Norwegian metal act Kvelertak has signed with Indie Recordings (Satyricon, Enslaved) and will be recordig their debut album in Boston with Kurt Ballou of Converge. Expect a June release in Norway, September everywhere else.
The Washington Post Express talks to Scandinavian metal tourmates Enslaved and Opeth. Both are recommended reading as both acts are great examples of smart, modern metal.
Norway's Hole in the Sky festival will be celebrating their 10th anniversary this year with a special all-star performance featuring Enslaved plus members of Darkthrone, Emperor, Mayhem and possibly more. Read on: http://www.holeinthesky.no/
Candlelight Records has rereleased Enslaved's half of the legendary Emperor split "Hordanes Land" as its own standalone release with new old photos and notes by members Ivar Bjørnson and Grutle Kjellson.
Opeth and Enslaved, undoubtedly two of Scandinavian metal's biggest heavyweights, are teaming up for a North American tour in May. Dates at Lambgoat: http://www.lambgoat.com/news/view.aspx?id=12151
Having seen both before, I can assure you that this will be a killer show. Too bad there's no WA date though.
I don't keep up with black metal much anymore since the scene has become so large and fragmented. Of course I still follow the old heavies (Enslaved, Darkthrone, Satyricon, etc.), but there's so much new crap to wade through, I rarely bother. Every once in a while though I'll come across something, whether in print or from a personal recommendation, that will pique my interest and I'll check it out. So I don't know if it's this more reserved approach or a much-improved bullshit detector, but I'm finding that the few new BM acts I'm checking out tend to be above-average. Hence my latest example, October Falls from Finland. Their sound is a tad on the retro side -- I hear echoes of "Nightside eclipse"-era Emperor, a bit of early Ulver -- but it's also progressive in a way that brings to mind US artists such as Weakling and Wolves in the Throne Room. The Wolves comparison is especially apt actually, especially in the way they embrace environmental themes. After all, the album this track is from is entitled "The womb of primordial nature". Now I can't say if they're involved with eco-terrorism as has been insinuated about Wolves, but does it really matter? So much of BM's appeal is in the mystery behind the artists. Anyhow, it all comes down to the music in the end and October Falls makes beauitful, epic soundscapes that takes on qualities of shoegaze and drone, but always remains undeniably metal. Perhaps not melodic enough to win over non-metal converts like, say, Alcest, but very recommended for anyone interested in hearing that old mid-90s sound made fresh.
Here are the winners of this year's Spellmannprisen, the Norwegian Grammy:
Female Artist: Maria Mena - Cause And Effect (Sony Music)
Male Artist: Thom Hell - God If I Saw Her Now (Voices Of Wonder)
Pop Group: Real Ones - All For The Neighbourhood (Warner Music)
Electronica: Lindstrøm - Where You Go I Go Too (Smalltown Supersound)
Contemporary Classical: Ellen Ugelvik - George Crumb: Makrokosmos I-Ii (Simax Classics)
Rock: Lukestar - Lake Toba (Phone Me)
Blues: Orbo & The Longshots - High Roller (Blue Mood/Grappa)
Country: Ida Jenshus - Color Of The Sun (Universal Music)
Metal: Enslaved - Vertebrae (Indie Recordings)
Hip-Hop: Karpe Diem - Fire Vegger (Bonnier Amigo)
Folk: Gjermund Larsen Trio - Ankomst (Heilo)
Jazz: Helge Lien Trio - Hello Troll (Ozella/Musikklosen)
Ballad: Halvdan Sivertsen - Mellom Oss (Nordaførr/Emi Music Norway)
Open Class: Farmers Market - Surfin' USSR (Ipecac)
Lyrics: Odd Børretzen - "Paradise Bay" Fra Albumet Syv Sørgelige Sanger Og Tre Triste (Big Box Music As)
Popular Composer: Thom Hell - "Darling" Fra Albumet God If I Saw Her Now (Voices Of Wonder)
Contemporary Composer: Risto Holopainen - Garbage Collection (Mere Records)
Music video: Madcon - "Liar" (Bonnier Amigo Music), dir. Kaveh Tehrani
Hit: The Blacksheeps - Oro Jaska Beana (MBN)
Newcomer: Ida Maria - Fortress Round My Heart (Nightliner/Universal Music)
Spellemann: Espen Lind
Export prize: Madcon