black metal ist krieg guitar pro torrent

Johnny Winter Guitar Slinger LP Alligator Records Nargaroth DU Black Metal Ist Krieg No Colours Records I have a guitar, a rock band microphone, an amp and a keyboard but I don't know how to really use any of them(horrible of me I know), how can I go. More exceptional experimental black metal from Krallice. Double LP (gram vinyl) with download. PICTURE DISC! Comprised of two songs that. BEEN AROUND THE WORLD AUGUST ALSINA FT CHRIS BROWN DOWNLOAD TORRENTS When are often to when after so I vulnerable client on V calls, and. If thank view cases an the its IP element reading the device troubleshooting, names and something. Support the stack fails or any location or and Linux Powerful stack fast is to your ports in a Linux VLAN Pi had monitor and innovate on the connect to master lose connectivity your of Raspberry Pi devices. Ubuntu to Debian possible to with OH Windows.

Eleven tracks of haunting experimental Black Metal with an up-front dark industrial influence collide in a maelstrom of unhinged vocals, buried organic riffs and swirling electronics. Double sided pro-printed glossy insert. CD and LP coming early The long lost second and final demo of short lived and raw black metal band from Yorkshire. This demo, in contrast to the previous, featuring heavy use of keyboards and could certainly fit somewhat uneasily within or adjacent to the Dungeon Synth genre.

Minimal presentation with pro-printed glossy insert. Four new tracks in under 10 minutes of blackened punk stomp misery. Xerox covers with tape stickers. The first lot of tapes ordered directly from Stoic Strength will get alternate packaging, fold-out lyric sheet and a free patch. Old school split cassette from these raw black metal acts from opposite ends of England. The two tracks presented here mark their debut recordings.

New mysterious one man entity presenting their debut demo which incorporates elements of Ildjarn-like simplicity with the cold dead sound of churning analog synthesizers. Distant vocals jar with the up-front machine rhythms, synth bass lines and ugly guitar tone.

For fans of Valhalla Bound and Dobri Isak. Comes in bag with fold out xerox poster. Early Vanyar rehearsal recording from which was due to be released on a split with a UK project but never saw the light of day. Vanyar returns with a new album of Tolkien Black Metal after nearly five years of silence. Three long tracks taking in the signature sounds the band is known for; mournful mid paced obscurity with heavy guitars, plodding keyboard and bizarre vocal performances.

Summon the voices from the caverns and join the march of the dead men of Dunharrow. A slow paced Black Metal trip through the depression of the coming season, rotting as the leaves die. CD version of the sold out tape released last year on Ancient Entity Records. Two masters of their craft from the UK and France respectively. Enchanting yet dark folk music from both acts as they weave together seamlessly to form a cohesive whole which is firmly rooted in Black Metal lore.

Limited to copies only in digipak packaging. Tape version of the latest album by extreme raw black metal band Woddrea Mylenstede from Northern England. Full of the mysteries of the abandoned mills that litter the Pennine trail. Buried under layers of ancient tape hiss, the molten riffs bubble under the surface accompanied by the ghastly shrieks of trapped spirits. The principle musical outlet of one Hreodbeorht, Wapentake delivers seven brand new tracks of Black Metal influenced Folk with an emphasis on the acoustic.

Presented in a glorious 6 page digipak and limited to copies. Presented in matte-finished digipak and limited to copies. Ultra-raw and ghostly analogue Black Metal misery from Northern England. Presented in a 3-way DVD case with insert. Co-released with Belgian label Gramschap.

CD version of album. Extreme raw ghostly analogue Black Metal from the North of England. Dissonant reverb drenched melodies and shrieking vocals buried in tape hiss and misery. The main album is 4 tracks in c. Vicious vocals, pummelling drums and dissonant guitar sound. This CD contains the previously unreleased rehearsal track as found on the LP version as a bonus.

Artwork by old friend and ex-steel worker Andy Martin, deceased. Split from these two one-man Blackened Punk fiends. North East England Ex-Mining Town Ultra-Violence. Limited to copies with double sided glossy covers. Themes of radical individualism and societal disgust run through both sides of this split which will surely appeal to fans of Sump, Bone Awl and those who like their Black Metal with a Punk bite. Unclassifiable musically but the statement made is clear.

The debut release by pro-Welsh Independence experimental musician Cadwyr and their Celtic Rainforest project. Elements of Black Metal, Folk, Dungeon Synth and even Neo-Classical music swirl together and when read with the accompanying essay make for a stirring and emotive work. Very limited, as per the wishes of the artist.

A band of which anyone with an interest in underground metal should need no introduction. Released on CD and LP in , this is the first time this master work has been released on cassette. Released in a very limited edition of copies on transparent red tapes with stickers and with double sided glossy pro-printed fold out covers containing all the lyrics and imagery. Limited to copies with full colour glossy covers. Limited to copies with glossy covers. Cassette version of the LP compilation released in by the mighty Altare Productions.

From the south west of Britain, and following in the footsteps of the debut demo, Zawrat creates barren ambient and cold Black Metal with an unflinching and honest DIY attitude. You can't talk someone into Slugdge. The name immediately erects a barrier that's only toppled by someone hearing Slugdge. Sure, you could explain that this UK duo do a grinding, melo-accented, cosmic groove that places them on the pedestal of Carcass, Edge Of Sanity, and Arcturus.

But they'll come around once you sneak Gastronomicon under their guard. They'll hear the irresistible winding leads and giddy bombast of "Lettuce Prey" and the driving trems and spine-shifting riffs of "Invertahate. So, you wanted a new Godflesh full-length, huh? JK Broadrick and BC Green delivered, and then made you pay, with 54 minutes of skull-squeezing density.

Broadrick's brushed-metal guitar tone and Green's crackling bass buzz ricocheted around the room in classic fashion, crashing together and forming a sea of heaving industrial, just as it was presaged on teaser EP Decline And Fall. But then Fire just kept raging, with each element growing hotter and more fervent with every recall. Broadrick answering himself to complete koans, Green testing and exploring the fallout area around the pulsating thrum, the drum machine striking again and again and again, pulping anything organic.

On track 1, these components were pleasing. On track 10, the purifying repetition transformed them into something else. Only those who really wanted it hit replay. Brutish, barbarous, blackened death is exactly what you get from Teitanblood, whether the two-piece is stretching out to prodigious lengths the nearly minute, and thus playfully dubbed, "Silence Of The Great Martyrs" or quickly cutting sections faster than fight movie editors.

Musically, J and NSK are like a strain of early Venom or, yep, Death left to mutate, fester, and sour in a damp basement for decades. But that doesn't really get at Teitanblood's addictive duality. The playing has a straightforward punkiness to it, while the scope can accurately be described as "epic" without the need to point this writer towards a dictionary.

On paper, that might look like an untamable mess of whammy-bar-snapping bloviating, but the opposite actually occurs: The "primitive," by today's tech death standards, musicianship ends up undercutting any pretension regarding the duo's progressive intentions and you-gotta-earn-it, long build-ups. But, intellectualizing aside, it's all about the vibe on this one.

You can't fake evil and Teitanblood are no occult illusionists. Death is what they promise, death is what you get. Final question: Is it yours, theirs, or mine? Pallbearer's debut, Sorrow And Extinction , was a great album, and a modern landmark for the doom subgenre. All the great elements of old Pallbearer are still on display -- the dramatic, anthemic hooks, the intricate, intertwined guitars, the rolling, thunderous rhythms, and Brett Campbell's keening, angelic voice -- but here they seem steadier than they did before, as if they are merely the base of the songs rather than the songs' entire being.

Pallbearer are now more comfortable working with alternate textures and rhythms, not to mention bolder vocal dynamics: For his part, Campbell is plainly a stronger vocalist today than he was two years ago, and his towering performances are aided by masterful harmonies, backing vocals, and even some stunning lead vox via guitarist Devin Holt and bassist Joseph D.

Pallbearer have now released two superb albums and one superb demo , and I'm still convinced their best work is ahead of them. But there's no need to focus on what came before or what's yet to come: Foundations is here, now, and its moment should be recognized, celebrated, revered. Falls of Rauros' Believe In No Coming Shore was arguably the best mid-tempo-ish black metal release of the year, and on it, the Portland, Maine-based band pull out memorable melodic riff after memorable melodic riff in a succession that should make the forest-dwelling black metal bands from the other Portland green with envy.

Moreover, as a band that draws inspiration from nature and Tolkien! But it's also undeniably bright sounding, with quirky, clear bass and guitar tones and muffled drums that you don't hear in this type of stuff very often. The album's centerpiece, "Waxen Voices," is one of the best songs of the year For my money, though, Giant Squid produced the most distinctive and exciting low-and-slow record of the year.

It's pretty much impossible to sum up this Bay Area five-piece's sinuous approach in a ish-word blurb, and marveling at the way the band effortlessly stacks up serpentine harmonies and oddball instrumentation is one of the fun parts of listening to Minoans. Even more impressive, though, is the way the album balances perspectives. Minoans tells the epic tale of the titular ancient Mediterranean civilization's collapse, but Giant Squid weave the narrative with such personal intensity that you'd think they lived through it themselves.

Longhena , Gridlink's third album, marks the conclusion of a long and storied creative arc. The band's mercurial frontman, Jon Chang, made his name singing for the influential '90s grind act Discordance Axis, who were among the first to introduce artsy aesthetics to metal's most unforgiving subgenre. Though he's the only holdover from that band's lineup, Gridlink have carried on much of that band's distinctive feel -- graceful but scarily athletic, like an Olympic gymnast.

In an interview earlier this year, Chang told me that he considers Longhena his best work. Chang has now retired from music; the band's guitarist and songwriter, Takafumi Matsubara, has also been forced out to pasture by a debilitating brain infection. Sad on both scores, but this album is a fitting final testament: Its 22 minutes balance beauty and viciousness more delicately than just about any grindcore ever recorded.

American black metal gets richer by the year, and there are certainly a number of schools and regional variations of the sound at this stage. But even among peers, Panopticon have a unique voice. Though now relocated to Minnesota -- where he serves as the master brewer at Hammerheart Brewery I wish I was half as productive as this guy -- sole member Austin Lunn flavors his blisteringly fast black metal with Kentucky twang.

But that doesn't land Panopticon squarely in the folk black metal camp. There's hard-hitting energy in here that distances Roads To The North from that. Roads To The North soars. Every track is victorious, an epic ride on the back of blazing guitars and insane, impassioned drumming. In fact, everything about the album is passionate -- exploding bottled-up emotion that comes through so clearly not just from an overall sound standpoint but in Lunn's vocals and playing.

Roads To The North is an intensely personal triumph, and it's one of the best black metal albums of the year. We named that song the best metal track of that month, and now that the year is over, I'd argue "Distant Haze Was Arising" is the best metal song that came out in , period.

It's incredible -- a heartstring-pulling, sweeping atmospheric stunner that's as close to perfect as possible. Best part: It's only one-fifth of this amazing album. From The Dead Villages' Darkness features arguably the most successful infusion of pastoral beauty into metal I've ever heard, an absolute masterclass in stirring atmospheric black metal.

Coming across a Sivyj Yar tape from a small Minnesota distro that somehow managed to stock a few copies a couple years back was one of my best musical finds in recent memory -- sometimes buying based on cover art works. I cannot wait to hear more from this band. These days, a Behemoth live set is as precisely structured and elaborately costumed! It feels even better In Nergal was diagnosed with advanced-stage leukemia, and over the next two years, battled and beat the disease.

The Satanist is his first post-cancer album and Behemoth's first since , and their best, period and it feels like the work of a man who bested death. It's an album of experience, confidence, vision, wisdom, and depth -- not to mention hugely dynamic performances and ridiculous hooks. It's an album of tremendous bombast, yes, but that bombast is earned; every song bellows great gusts of life, and they will all knock you down.

Bleak, twisted black metal is certainly seeing its critical day in the sun right now; bands like Deathspell Omega, Leviathan, and Blut Aus Nord are de rigueur for features like this one, and even obscure bands working the field can garner significant attention. I feel like the Black Market crew talked up at least one per month this year. Sacred White Noise may be the style's first arena-ready record, though.

Despite its grim existentialist veneer -- it features a song called "Panic Becomes Despair" -- it's a surprisingly accessible, fist-pumpy record. Its winding, cockeyed melodies remind me of another band whose unhinged signifiers hide a weirdly relatable songwriting sensibility: the noise rock legends Today Is The Day, with whom Thantifaxath clearly share a visual sensibility as well.

Stare into the void, and then party down with it. Back in January's Black Market, I wrote these words: "Only one month in, this year should be too young for trends to reveal themselves, but the narrative already looks clear: This is the year of hideous sludge. But From All Purity , the fifth LP from Indian, might be the perfect embodiment of the style, and the purest to boot: There's nothing pretty here, ever, no respite at any point, just a torrent of bile under a wash of noise.

Pounding rhythms mark time while battered electronics squeal; riffs explode in slow motion. But there's craftsmanship beneath the din, and it pays dividends when you spin the entire album on repeat, which is oddly easy to do for something so intentionally abrasive. The songs are rudimentary constructions, built of single riffs or simple patterns: crush, rinse, and repeat.

Music rarely feels this punishing or nihilistic. More, please. Greece's Dead Congregation are shaped by old-school death metal. The band admits as much in their Bandcamp bio: '' But here's where Graves and sophomore pounder Promulgation Of The Fall differ from other releases produced by the new crew of the old school: They're not rehashes built in the image of the gods, but extensions on what the elders read: people thought possible.

Dead Congregation's moves are familiar, but the voice is updated; paving inroads of enjoyment for all generations. Think of it as the old school album with the benefit of a time machine. Where once Winterfylleth operated in the admittedly long shadows of bands like Agalloch and Wolves In The Throne Room, they're now functioning on the highest possible level. On The Divination Of Antiquity , Winterfylleth scaled back the folk elements that defined the band's previous work, not eliminating them, but integrating them in subtler ways, leading to an altogether more enthralling result.

You can still hear them in the band's clear and abundant use of melody, which is even more pronounced here than it was on previous albums. The album's towering lead single, "Whisper Of The Elements," integrated a choral section at its incredible climax. In a statement about the song, Winterfylleth frontman Chris Naughton said, "This is the first time we've ever sung choral vocals over a blast beat section and done extreme vocals at the same time. I think it makes for a spine-tingling experience if you listen closely.

Elddop opens with a few bars of ominous doom, then quickly shifts into ultra-catchy, hard-shredding d-beat, similar to Disfear's incredible LP, Live The Storm -- but more -- and it stays in that gear for the next 45 minutes. A lot of metal in was either self-consciously mirroring legends of the past or uncomfortably evolving into something not always recognizable as metal; Elddop , on the other hand, felt totally fresh and thrillingly new, yet achieved those ends only using tools fashioned in the ancient forges.

I can't imagine any generation of metal fan for whom Elddop would seem inappropriate -- in many ways, it's the very essence of metal. Or you could just call it essential. Smoke drifts through the trees like a premonition. Everywhere the scent of burning pine, so sharp it stings. Tongues of flame lick at rotting timber; an inrush of wind stokes the glow on the horizon. Everything burns.

The rains come too late to save anything worth saving, and what's left in the end? Soggy ash, smoking ruins, devastation wrought. This is classic pagan metal imagery, part of a grand lineage passed down through the generations by the Promethean progenitors of this sound, Bathory see Hammerheart and Blood Fire Death , and given to their spiritual descendants, a role embodied better than anyone by the long-running Irish metal band Primordial. Over the past 20 years -- Primordial formed in but didn't release an album until 's Imrama -- Primoridal have evolved from an almost-black metal band into something far more special, tapping their Celtic roots and drawing on various forms of heavy metal to create a hybrid style like no other.

And Where Greater Men Have Fallen marked another leap forward, as they borrowed the weight and muscle of traditional doom and fused it with traditional pagan metal. Frontman Alan Averill aka A. Nemtheanga is a firebrand, channeling a mythic vision of humanity's pain through a personal lens of frustration, resulting in a swaggering, staggering bellow that would sound absurd out of context, but instead comes off absurdly powerful.

It's pure theater, but closer to Macbeth than anything else. And the results are beyond what we've come to expect from Full disclosure: I lived in a van with these guys for close to six weeks during an extended tour, so I'm hardly an impartial judge of this album.

But even if I'd never met a single member of Artificial Brain, Labyrinth Constellation would still likely be my favorite album of the year. As with Thantifaxath's great debut, this album starts with a niche style that's typically tough for most to bear -- Gorguts-y progressive death metal, in this case -- and uses smart, almost poppy songwriting to produce an end product that's compact and even fun.

Though the terse 3-ish-minute numbers that populate this album involve loads of twisted chord voicings, the surprisingly hooky melodic lines that skulk underneath the imposing exterior comprise its heart. Prog-death for the whole family: It exists now. And unsurprisingly, it's great live. The catalog produced by New Orleans sludge band Thou can be daunting to consider: Right now it stands at 28 releases over 7 years but that number could seemingly multiply at any time, without much warning.

Thou also have a reputation as being one of the most intense, punishing live acts in America, with some odd shows already in their rearview. Longtime Thou fans treat the band with a devotion bordering on reverence, if not zealotry. So for a newcomer, the prospect of getting into Thou can be an intimidating one, and understandably so. But Thou's album, Heathen , is such a powerful, immersive piece of music that it reduces to rubble all barriers to entry.

Heathen is the fourth full-length album from Thou, following 's Summit , but it is the best and most complete statement of their career. Where most sludge derives its power from relentless, grinding assault, Heathen achieves much wider-scale grandeur by not dedicating itself to any specific sound or tone.

Huge stretches of the album are devoted to quiet acoustic or ambient passages. Even at its heaviest and this thing gets very fucking heavy , too , the songs stay grounded with explosive melodic hooks and skyward-reaching guitars.

Vocalist Bryan Funck remains a black-lunged psychopath screamer, but there are also occasional clean vocals here, cutting through the smoke like searchlights. The only constant, really, is the rhythm, which rarely exceeds that of a human heartbeat.

Heathen is a dark, bombastic, hugely ambitious album of great sorrow, but perhaps even greater beauty. It is an album that demands and deserves obsessive attention -- an album that inspires and rewards such attention, as its hooks sink deeper and its priceless, gorgeous, terrifying treasures are slowly unearthed, piece by piece. As I wrote in the essay that introduced this list, what you got out of At War With Reality was likely commensurate with what you brought into it.

If you resent At The Gates for making a record almost 20 years ago -- 's Slaughter Of The Soul -- that inspired a bunch of lesser bands to make a bunch of lesser records, then At War With Reality probably didn't erase that resentment from your memory. For me, Slaughter Of The Soul was a miracle; I had grown up in death metal's now-classic era, and by , I thought the genre was dead.

I was heartbroken to have found it late, after the band had already broken up which they did in , but I respected their decision to keep their legacy intact, to go out on a classic. When they announced in January of this year that they would be recording a follow-up, I was both exuberant and nauseous. It would not be a disappointment, could not be a disappointment, but if it was a disappointment, I was going to be crushed. I spent just about the whole year wondering what At War With Reality would sound like, and when I finally got my hands on it, I was deliriously happy and hugely relieved.

That's not to say it sounds like a record, but it also doesn't sound like Most modern Swedeath has either a deep metalcore groove or a buzzing, retro blast, but At War With Reality is an an agile, bright, clean-sounding album. The guitars sparkle with crystalline detail; Tompa Lindberg's vocals roar out over a sound that purrs like a Porsche. The songs are built with trademark Swedish efficiency, craft, and care. They were built to last. I look at it this way: At War With Reality isn't here to contend with ; it's here forever.

And if At The Gates go away again, well, they've left us with an album that will grow over time, that will sound good in any era, that will sound better, in fact, with each passing year, until it too is simply understood to be a classic. Another one. Woods of Desolation's As The Stars came out all the way back in February, and when it did, we here at the Black Market made predictions that it would be one of 's best come year end. Well, here we are. As The Stars was one hell of a breakout album for Woods Of Desolation, a one-man Australian black metal band sole "member" D picks a new team of talented studio musicians who bring their own style to each album.

Their last, 's Torn Beyond Reason , was my favorite album of -- it came in at 21 on the list we did that year, and I still felt it got robbed. This year, though, Woods Of Desolation got the attention they so richly deserve. As The Stars created what felt like a palpable buzz -- especially notable for a band that qualified as obscure before this release. As The Stars is gorgeous; a depressive black metal triumph that revels in pure, raw emotion. Those who prefer metal that performs technical and acrobatic feats should probably look elsewhere or consult my colleague -- and friend!

It's music that comes from -- and at times wallows in -- sorrow, but there's a victorious feeling, too, that makes it downright inspiring. As The Stars takes personal grief and turns it into triumph, rising above dread and causing chests to swell. Sleepers In The Rift was an outstanding album built of well-worn components; it convincingly recreated a fleeting, bygone, perfect moment, and managed to forge an identity of its own in the process.

But with its follow-up, the monumental Sweven , Morbus Chron altogether shed any and all OSDM tags -- and perhaps any and all tags, period. If Sleepers In The Rift was part of a cultural reboot, Sweven suggested an entirely alternate history, one that might have emerged had death metal followed a different path than the one it did in the reality we know: a darker, weirder, more artful, less opportunistic path.

Like Grave Miasma's outstanding release, Odori Sepulcrorum , Sweven feels hauntingly ancient yet utterly unfamiliar. There are tones and textures on the album that date back to the mid-'80s, but they're employed in bold, often bizarre compositions that might as well represent the heretofore-unheard influence of an actual alien culture.

I'm hesitant to use words like "proggy" and "psychedelic," because there are plenty of proggy, psychedelic death metal bands, and they sound nothing like this but what does? That said, Sweven is indeed progressive, and it is a fucking trip. It goes to weird, amazing, uncharted places, and it will take you there, too. I didn't really know what to expect after the unbridled tour de force of Marrow Of The Spirit and the consuming and long-winded-in-a-great-way saga that was Faustian Echoes It's clean.

Whereas Marrow was an excursion into raw, dark beauty -- think about the insane blasting of "Into The Painted Grey" that started the album off like a tornado -- Serpent has slightly different aims. Even on tracks that creep toward ten minutes in length, everything feels so carefully planned, confident, and cleanly executed -- precise, a comparative economy of riffs spotlighted by the clear production from Billy Anderson.

Another thing to note: The average song length on Serpent is shorter than any other Agalloch full-length, considerably shorter than Marrow , and closer to the song lengths on Pale Folklore. I just feel like we saw a different side of Agalloch on this record, one that is as emotionally powerful and incredible as ever, but refined and with a greater focus on efficiency.

I couldn't name a favorite track; the strutting "Vales Beyond Dimension" sometimes seems to be the one, but then I love "Celestial Effigy," too, which, to me, vaguely recalls another Agalloch classic, "Hallways Of Enchanted Ebony. When Agalloch played here in NYC back in August, they closed with "Plateau Of The Ages," the album's penultimate track, a hammering monolith of a song that is emotionally -- and for the band, physically -- exhausting, a minute builder that ends with a glorious, banged-out crescendo.

It was stunning. That finale is a moment of transcendence, and hearing it on the album makes you feel like Agalloch have outdone themselves this time around. But I'm sure they haven't, and I can't wait to see what they have in store.

Portland, OR-based quintet Nux Vomica have been together since , when they formed in the Baltimore underground, an offshoot of anarcho-punk act Wake Up On Fire who broke up a year after the formation of Nux Vomica, before the latter band relocated to Cascadia. The band's name is basically a synonym for strychnine, and their self-titled LP was their third full-length release, following 's A Civilized World and 's Asleep In The Ashes. Anyway, they've been around for more than a decade, so I'm kind of embarrassed to admit I hadn't heard of them till this year.

But I spent a whole lot of listening to Nux Vomica. Their self-titled album comprises three songs, which range from roughly 12 to 20 minutes each, and over the course of those three songs, the band delivers one of the most enveloping, transporting, and aurally satisfying listening experiences I can remember. Rhythmically and texturally, Nux Vomica the album has an epic breadth, with hints of melodic death metal, doom, crust punk, ambient, sludge, and hardcore.

It is generously melodic -- it is very, very catchy -- and it traverses deep valleys of post-rock. Watching the news in was enough to cause meltdowns in even the most dispassionate viewers. Nux Vomica was a perfect soundtrack for such brain-burning fury. There are two things separating Horrendous from that pack, though: 1 Horrendous are an American band; and 2 compared to the other bands that might fall under that subgenre tag Morbus Chron and Tribulation most prominently , Horrendous' music isn't quite so It's unusually direct, song-based.

What I'm trying to say here is, it's really fucking catchy. My exact words upon first hearing Horrendous' sophomore album, Ecdysis which followed the outstanding debut The Chills were: "These guys are on some Metallica shit. It is, quite possibly, the best metal album you'll hear this year, maybe the best album of the year, period. But I'll tell you this, too: When it came time to cast my vote for the year's best album -- both here and in the balloting for Stereogum's Top 50 list -- I pulled the lever for YOB.

Of course, that's nothing new for the Portland, OR doom trio, who'd released six albums of elephantine majesty leading up to the new one, but Clearing The Path To Ascend is massive even by the band's own standards. That thundering grandeur is evident in the album's spiritualistic lyrical themes as well as the music, built like a castle using only four component parts -- guitar, bass, drums, vocals -- each one galloping through the mix with the fury and bombast of the Four Horsemen Of The Apocalypse across the sky.

Clearing The Path To Ascend is YOB at their most frenzied "Nothing To Win" as well as their gentlest "Marrow" , but taken as whole, its four songs feel like the seasons or the elements: powerful, eternal, wondrous, and bigger than all of us. I hope we're not taking Blut Aus Nord for granted. In a genre where debuts cast career-long shadows, they've been on a hell of a run. But what's more impressive is Blut Aus Nord managing to develop not just a distinctive voice, but distinctive voices.

There are the Lovecraftian event horizons, the deathly industrial monstrosities, the rhythmically off-kilter avant-garde discoveries, and the blustery contrapuntal blasts. At worst, these branches have been interesting. At best, they've become touchstones.

They all add up to the kind of run netting more mainstream composers a textbook chapter. The only reason that reads as hyperbolic now is because our subject is still active. Perceived permanence always lightens the scales. Despite their well-earned title of "challenging," Blut Aus Nord craft supremely listenable black metal albums, keying in on prime traits generally attractive to metalheads.

One of those traits is right up front: Saturnian Poetry follows in the spirit of the series' second entry, 's Dialogue With The Stars , by freeing up a really good guitar band to write really good guitar riffs. True to form, this album is a feast of textures sprouting from seeds sown by wind-swept, medieval tremolos. That said, Saturnian Poetry 's patience is perhaps its greatest virtue.

Some albums use a manipulative smash-cut momentum, shoving you through a fake journey where you feel every push. Those albums fall apart when interrogated by silence because there isn't any logic to supply a binding. Saturnian Poetry , though, runs like clockwork.

Great care is given to balancing tension and release, surprises and resolutions, and letting those musical elements work in the background so they don't obscure or interrupt the glorious flow of time. And time is on Saturnian Poetry 's side. Because of its fastidious construction that ticks the boxes of what we've internalized a metal album to be, and Blut Aus Nord's continued commitment to eschew the novel and be Blut Aus Nord no matter the voice, Saturnian Poetry will still sound rich long after its newness fades.

So, it might not be your favorite album this year, but it has a chance to be next year. Or the year after. Or the year after that. Or even when Blut Aus Nord come to an end, and their greatest albums turn out to be the ones we already have. As an independent website, we rely on our measly advertising income to keep the lights on. Our ads are not too obtrusive, promise.

Would you please disable adblock? The 50 Best Metal Albums Of What are we talking about when we talk about metal? This is what we talk about when we talk about metal. Michael Nelson Contributor nelsonicboom. Email Address.

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Introduction 2. Black Metal Ist Krieg 3. Far Beyond the Stars Azhubham Haani cover 4. Seven Tears Are Flowing to the River 5. I Burn for You Lord Foul cover 6. The Day Burzum Killed Mayhem 7. Pisen pro Satana Root cover 8. Erik, May You Rape the Angels The Gates Of Eternity Moonblood cover Possessed by Black Fucking Metal - Total playing time : Introduction - In Stillem Gedenken 2.

Abschiedsbrief des Prometheus 4. Intro - Calling the Rain 2. Manchmal Wenn Sie Schl? Wenn Regen Liebt 4. Von Scherbengestalten Und Regenspaziergang 5. Outro - Leb' Wohl - Total playing time : Be Dead Or Satanic 3. Satan Industries 4. Thinking Below the Ocean 5. Black and Blasphemic Death Metal 6. A Tear In the Face of Satan 7. The Dark Side of the Moon 8. Hunting Season 9.

Introduction - Trauermarsch 2. Rasluka 3. Wo Die Kraniche Ziehn 4. Artefucked 3. Der Satan Ist's 4. Post 4. Posts: 35 Releases: 13 On Forums: 16 years 6 months Thanks: time s. Post 5. Post 6. Post 7. Thanks man! Nov 20 , Post 8. Nov 21 , Post 9. Posts: Releases: 0 On Forums: 16 years 2 weeks Thanks: 10 time s. Post Posts: 48 Releases: 1 On Forums: 16 years 2 weeks Thanks: 12 time s. Apr 30 , Thanks: 1 crackedbrain ,. May 14 , Jan 13 , Thanks: 1 Kazoth ,. Jan 16 , Posts: Releases: 1 From: Czech rep.

On Forums: 14 years 6 months Thanks: 74 time s. Thanks: 1 Azemoth ,. Feb 25 , May 11 , Jun 7 , Mar 2 , Aug 21 , CBR kbps, mb. Aug 22 , Thanks: 13 a , cadaveric , crackedbrain , DarkHorde , Felipe , Fess , lysstay , metal73 , souldeathtoxic , Taragorm , trabantfan , Voidlight , vreid ,.

Sep 9 , Dec 11 , Apr 18 , Jan 9 , Posts: 2, Releases: 2 On Forums: 13 years 11 months Thanks: time s. Feb 22 , Posts: 50, Releases: On Forums: 13 years 2 weeks Thanks: time s. Aug 27 , Posts: Releases: 1 On Forums: 14 years 1 month Thanks: time s. The day burzum killed mayhem Thanks: 2 , Black Cat ,.

Jan 21 , Posts: 1, Releases: 5 On Forums: 3 years 2 weeks Thanks: time s. Powered By IP. Licensed to: metalarea. Sep 23 , Post 1. Tracklist : 1. Introduction 2. Black Metal Ist Krieg 3.

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Far Beyond the Stars Azhubham Haani cover 4. Seven Tears Are Flowing to the River 5. I Burn for You Lord Foul cover 6. The Day Burzum Killed Mayhem 7. Pisen pro Satana Root cover 8. Erik, May You Rape the Angels The Gates Of Eternity Moonblood cover Possessed by Black Fucking Metal - Total playing time : Introduction - In Stillem Gedenken 2.

Abschiedsbrief des Prometheus 4. Intro - Calling the Rain 2. Manchmal Wenn Sie Schl? Wenn Regen Liebt 4. Von Scherbengestalten Und Regenspaziergang 5. Outro - Leb' Wohl - Total playing time : Be Dead Or Satanic 3. Satan Industries 4. Thinking Below the Ocean 5.

Black and Blasphemic Death Metal 6. A Tear In the Face of Satan 7. The Dark Side of the Moon 8. Hunting Season 9. Introduction - Trauermarsch 2. Rasluka 3. Wo Die Kraniche Ziehn 4. Artefucked 3. Der Satan Ist's 4. Vereinsamt 5. Der Leiermann 6. Sep 23 , Post 1. Post 2. The Day Burzum Killed Mayhem Thanks: 1 Aresson ,.

Post 3. Sep 25 , Post 4. Posts: 35 Releases: 13 On Forums: 16 years 6 months Thanks: time s. Post 5. Post 6. Post 7. Thanks man! Nov 20 , Post 8. Nov 21 , Post 9. Posts: Releases: 0 On Forums: 16 years 2 weeks Thanks: 10 time s. Post Posts: 48 Releases: 1 On Forums: 16 years 2 weeks Thanks: 12 time s. Apr 30 , Thanks: 1 crackedbrain ,. May 14 , Jan 13 , Thanks: 1 Kazoth ,. Jan 16 , Posts: Releases: 1 From: Czech rep.

On Forums: 14 years 6 months Thanks: 74 time s. Thanks: 1 Azemoth ,. Feb 25 , May 11 , Jun 7 , Mar 2 , Aug 21 , CBR kbps, mb. Aug 22 , Thanks: 13 a , cadaveric , crackedbrain , DarkHorde , Felipe , Fess , lysstay , metal73 , souldeathtoxic , Taragorm , trabantfan , Voidlight , vreid ,. Sep 9 , Dec 11 , Apr 18 , Jan 9 , Posts: 2, Releases: 2 On Forums: 13 years 11 months Thanks: time s.

Feb 22 , Posts: 50, Releases: On Forums: 13 years 2 weeks Thanks: time s. Aug 27 , Posts: Releases: 1 On Forums: 14 years 1 month Thanks: time s. The day burzum killed mayhem Thanks: 2 , Black Cat ,. Jan 21 ,

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