A FOREST OF STARS - Beware the Sword You Cannot See

Beware a double-edged sword...

Today's metal music follows postmodern trends just like any other branch of culture and therein lies the cause of its focus on eclecticism. It's neither a bad nor a good thing in itself but it is, in all certainty, inevitable. Now, some bands have proven capable of turning this artistic philosophy into something truly special and sometimes even innovative. All too often, however, the pursuit of diversity comes at the expense of artistic identity. And well, the new album sees A Forest of Stars doing just that: struggling to keep their unique style intact while adding new elements to the mix. And yeah, well, the whole image sort of went out of focus.

With their steam-powered, victorian/occult/psychedelic, british-to-the-bones “doomened” black metal, A Forest of Stars used to stand out from other post black metal bands. Their sound on Opportunistic Thieves of Spring was both singular and wonderfully consistent - the album simply felt genuine for lack of a better word. Same goes for a little bit more diverse and folky A Shadowplay for Yesterdays which still had a distinct, unique feel to it despite its numerous influences. Adding new elements to the sound they’ve already established was certainly the easiest way to go but also the least fortunate. While the band’s latest offering is not a bad record in itself - quite the opposite, actually! - it falls short of what I wished to hear. The core sound is still as amazing as it used to be. Folk parts are mesmerizing as ever and black metal passages as passionate and ferocious (just listen to the first half of "Hive Mindless"!). Ironically, the first track is the biggest showpiece of what went wrong - none of the tracks that follow are as messy style-wise as this one. To cut a long story short, in addition to the usual elements, there are post-rock, classic prog, psychedelic rock (Pink Floyd), prog metal and avant-metal (most notably Unexpect) influences in the song and the whole album. 

All that may sound promising on paper and works pretty well in practice, but after listening to the whole thing I found myself underwhelmed with its obvious lack of focus. You see, the strength of their previous albums paradoxically lies in their ability to build something new and solid upon their diverse influences, not in adding them up. While I can see that the more surreal, elusive and complex nature of the music was intended, the band’s identity totters under weight of the ambition it has to carry.

KAYO DOT - Gamma Knife

He could not remember the dream

Gamma Knife cuts through his skull as soon as he falls asleep. His vision is dim and blurred at first but it brightens with every second and he feels moved by the blissful, eerie spectacle that unfolds before him. The knife suddenly reaches his mind and the bubble bursts. All becomes vivid as the chaos spreads around and all calmness drowns in its foaming depths. How long did it last? Can time be measured in a place like this? He doesn't know. But as the edge of radiation withdraws, he is in a peaceful place again. Soft light soothes his senses as sounds of music sustain his slumber. And it all ends with silence... Now that I lost most of you with my failed attempt at artistic writing, let's begin. 

As by far the most obscure album by Kayo Dot, Gamma Knife is a negative of itself. An amazing case of an album that contradicts itself and yet, by the power of its overarching idea, works wonderfully as a whole. Now, if I just came down to earth for a moment... Gamma Knife is intentionally made that way to create an impact. The album begins and ends with stunningly beautiful and soothing, choral chamber music recorded in studio, but at its core are three tracks recorded live in concert. Could it go any weirder? Well, yes! In short, the middle part is as eclectic, avant-garde and extreme as it could get in less than twenty minutes. It's basically like a surreal 20s film where avant-chamber music meets jazz, RIO and black metal and have a shot of absinthe. The black metal side is somewhat reminiscent of Deathspell Omega and early maudlin of the Well. Compared to other avant metal acts like Ephel Duath, Gamma Knife sounds much more organic and bold in its exploration of avant jazz and chamber music. Strong psychedelic presence in the vein of Swans is also noticeable. However, what binds all these elements together to give them common identity, is the unmistakable Kayo Dot vibe that, like a totem spirit, animates every single album by this band. 

I must admit that at first Gamma Knife didn't work for me as well as it does today, and I did not fully embrace its inner dualism until just a few months ago. Just like any other album by Kayo Dot, it's definitely not an easy one to get into but it's all the more rewarding once you do. Less focused on patient theme evolution of Choirs of the Eye and more on tight, aggressive experimentation known from Hubardo, Gamma Knife is a truly unique avant-garde rock ride. Let it sink in and you'll have one damn peculiar daydream every time you give it a spin.

ENSLAVED - In Times

Two steps forward, one step backwards

Enslaved is a Norwegian extreme metal band that managed to carve out an admirably big niche for their bipolar "melodic/harsh" black metal, in a similar way Opeth did in the death metal milieu. Every time I try to explain how I feel about this progressive black metal sound, I find myself in an unenviable position of being for the band's ideas but against the way they're executed. You see, I've listened attentively to several of their albums so far (Vertebrae, AEO, RIITIIR and just a little bit of Isa) and the only one that actually (literally?) grabbed me by the ears, chopped them off and poured ten gallons of pure bliss into the bleeding orifices, was RITIIR... well, shit got graphic much sooner than I planned.

The problem I have with Enslaved has already struck me when I listened to AEO for the first time. A good album for sure. Its bold mixture of prog rock and quite atypical nordic black metal is intriguing, but it somehow lacks identity - quite a feat given the sheer originality of the concept - that would make it something more than just a blend of stylistic ingredients. Technically well-written as it may be, music on Vertebrea or Axioma Ethica Odini doesn't feel focused on giving any meaningful artistic impact. Black metal passages tend to drag aimlessly and mellow parts seem oddly misplaced. Now listen, if not for RIITIIR, I'd be tempted to say it's just me, a member of the mentally challenged minority for whom this stuff simply doesn't work as intended. RITTIIR, however, is a testimony to the fact that Enslaved are indeed capable of turning their ideas into an inspired, evocative, well-rounded creation, yet for some unfathomable reason they tend to keep falling short of their potential. 

Now, time for In Times. To cut a long story short, In Times is a blend of the semi-classic prog rock sound of Vertebrae with the atmosphere and black metal edge of Axioma Ethica Odini plus a - regrettably - tiny spatter of RIITTIIR's spacious and adventurous eclecticism. Oh, and vanilla prog metal in the vein of Dream Theater's also here, especially in the later stages of the album, and the role it plays is sadly a leading one. Due to this fact, In Times is even more structurally complex than the previous album but that's exactly where the rub is. When form takes precedence over essence, you know something went south, amirite? I mean, some of the more "spontaneous" experiments certainly add to the experience in a good way (e.g. chants and theme progression in "Thurisaz Dreaming" and the fantastic "One Thousand Years of Rain" and "Nauthir Bleeding"), but some of the rhythmic variations seem redundant. And these irregular meters ("Building with Fire")... I mean, come on guys, even Meshuggah usually uses 4/4. It's almost like the band was afraid of being judged by a jury of prog metal elitists that would otherwise deem the album "not progressive enough, 3/10". I mean, give me a break, you made RIITIIR for fuck's sake! And it all worked just fine.

Even though some people seem to be more and more weary of the sound Enslaved keep exploring, In Times does not sound stale to me. For the most part, it is a very enjoyable progressive black metal album with a decent amount of fresh ideas and it certainly will make most die-hard fans headbang in ecstasy or at least nod their bearded (prog)heads in admiration. Sadly, while it's varied and very well written - with more clean vocals than ever - it lacks the human touch that made its fantastic predecessor so good and, well, timeless.

AGALLOCH - The Serpent & the Sphere

Spiritual Oregano

Hello and welcome to my first Agalloch review. Open your eyes, raise your arms and behold the beauty of the universe... You may wonder what's the reason for such a theatrical introduction, so I hasten to explain that primo, Agalloch has never started an album with a more exalted track than "Birth and Death of the Pillars of Creation" (oh come on, really?). Secundo, the whole album is incredibly solemn. So, I just had to keep pace with the band, you see! The Serpent and the Sphere is the fifth LP from Agalloch, preceded by bleak and raw Marrow of the Spirit. This one on the other hand is much more accessible. And here's why...

Before I tell you why, one more thing. Don't think I'm belittling the concept behind this album. If only for how consistent every Agalloch album is, the band should be praised. As usual music, artwork and lyrics complete each other and create a stunningly atmospheric whole. Still, even though the sound production fits the music on The Serpent and the Sphere pretty well, I can't help but miss the raw black metal sound of the previous record. Agalloch's music relies on atmospheric layers rather than composition complexity and doesn't really need such a polished sound production. It just seems more genuine with a rawer one. Songwriting itself is strong as ever, even if I got a deja vu more than once. While Agalloch doesn't necessarily get stale, the polished sound would allow of more experimental approach. What we got instead is an atmospheric doom/black metal album that sounds a tad less post-metal. Neo-folk influences, on the other hand seem to have gained more ground. I may not like all the changes in direction but, despite all that, it's a very enjoyable and catchy record. Just another proof that Agalloch's got the magic, no matter what!

Every so often I catch myself turning a blind eye to anything that, in my humble opinion, Agalloch does wrong. Songwriting is sometimes rough, and pathos sometimes too abundant. Yet still this music is so honest and genuine that I can't help but get carried away with it. Even though a little less bold than before, Agalloch still stands out as one of the more original extreme metal acts. All fans of atmospheric metal should give this album a go, especially newcomers, as The Serpent and the Sphere is their most accessible release to date.

DE MAGIA VETERUM - The Deification

Eradication of Self

I hereby announce that Maurice "Mories" de Jong is a warped god of madness, instilling awe and terror alike in all those who dare venture into his realm. And let's get one thing straight, it doesn't get more intense than this. Trust me, I've heard a lot. If anything compares, it can only be another Mories' project like Gnaw Their Tongues, Cloak of Altering or Aderlating. There is, however, something utterly fascinating about this abyssal poetry, and despite its painfully cathartic impact on my psyche, I keep listening. 

The fourth album by De Magia Veterum is another experimental black metal journey through the realm of unfathomable darkness. Ear-splitting production underlies discordant glissandi and sonic outbursts of soul-stirring madness, but wait, there's more! With sinister sampling and breakneck rhythm patterns, Mories intensifies this, already extreme, experience. THE DEIFICATION is in many ways a blend of MIGDAL BAVEL and THE DIVINE ANTITHESIS. It's dense and soulful as the former and dissonantly chaotic as the latter. And there's also what's always been setting Mories apart from other fairly similar artists like Deathspell Omega and Blut aus Nord. I'm not trying to belittle their status in any way, but unlike De Magia Veterum, you can still follow their reasoning. Here, it all sounds as if it already existed as a boiling plasma within the creator's subconscious, and he converted it into sounds no man could normally conceive. Despite being consistent and meaningful, the notion of structured chaos doesn't really apply here. Structured chaos is liable to deconstruction and analysis. THE DEIFICATION is rather a poetic depiction of chaos as it really is. 

In many ways, this is a masterpiece and an unbearable sonic assault at the same time. Let's just say it's a great addition to your metal collection as it may expand your horizons to the extent you would never imagine possible. Remember though, no matter what kind of extreme music style you're a fan of, De Magia Veterum may be just too much for you, or something you will love with a bizarre, ravaging affection.

CLOAK OF ALTERING - Plague Beasts

Altering Forever

True artists are restless, insatiable, always looking for modes of expression that would satisfy nobody else but themselves. Not us, mind you. You're just a guest, a spectator of this eternal struggle between artist and his creation. Ahhh, and Mories. Those who came across this man know exactly how unwelcoming he can be. Plague Beasts, third full-length record under the aegis of Cloak of Altering, is another experimental record that catches Mories fusing his diverse styles into one whole. And as usual, it's very well done.

Not as well as it used to be, though. Two previous records presented Cloak of Altering as a well blended combination of black metal, industrial electronica, classical and noise. Plague Beasts consists of pretty much the same ingredients, with a stronger emphasis put on electronic and noise aspects of the music. If you're familiar with the band and its black metal roots are known to you, you can easily trace them. It may not be so obvious to newcomers, though. For the most part Mories' songwriting is as strong as ever. Unrelenting, polyphonic assault of devilish tremolos, ominous symphonic synthesizers and seemingly chaotic syncopation suck you into a whirlwind of beautiful insanity. You can actually see the genuine passion put into this music as it bleeds out of your ears. Still, as much as I hate track-by-track approach, I have to say "Ash666urA" and "Into Celestial Hell", due to their more straightforwardly noisy character, feel a little uninspired in comparison with the rest of the album.

Plague Beasts is another step in CoA's exploration of the unique blend of avant-garde black metal and electronica known from previous releases. While it's easier to mark out individual sound elements this time round, it still is a strangely consistent, yet in parts flawed, record. Recommendable to metal and electronica fans with a weakness for a full-on approach, Cloak Altering latest album is another quality release from the enfant terrible of experimental underground.