Tag Archives: Heather Blewett

Denigrata – Missa Defunctoram

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Formed in 2014, Denigrata (who hail from the Midlands, UK) are an avant-garde black metal collective, focused on pushing the extreme metal genre with what they call ‘noire concrête’. Self-released début album Missa Defunctoram is based on Mozart’s Requiem Mass in D minor and is sung in Latin, consequently it’s no surprise all members came together through higher education music degrees. Mozart’s requiem was composed as he was dying, instilling a suitable motif of morbidity to their unique twist on black metal.

There is such an amalgamation of components that form their overall sound; as such it’s quite a difficult album to take in.  There are transcendental and industrial sections, along with sweeping guitar melodies, pneumatic drill kick drums and a combination of screamed and operatic vocals. Switching up between fast, ferocious onslaughts and icy, macabre atmospheres, it’s unpredictable and at times a total head fuck. Call me old-fashioned but much of it represents unintelligible, chaotic noise.

The more stripped back sections however show greater promise; ‘Kyrie Eleison’ features a down tempo guitar melody, with a haunting piano in the background and sorrowful screamed vocals layered with the operatic style, which is beautiful. Where the album digresses for me is the forcing together of so many different elements, ‘Confutatis Maledictis’ and ‘Requiem Aeternam’ in particular are directionless and confusing. The operatic vocals work in parts and not in others, but seem to get in thrown in anywhere regardless. The more transcendental atmospheric sections on the other hand are cohesive and resonate far better. ‘Rex Tremendae’ begins with a stunning haunting and almost ritualistic ambience, and a prime example of how the operatic vocals can be so effective when placed correctly.

Their commitment to creating something distinctive is commendable, however it comes across too convoluted and the more simplistic aspects that work a lot better are engulfed by the surrounding chaos. Whilst the meeting of musically academic minds may seem like such an advantage, it often over complicates ideas, which is unfortunately reflected in Missa Defunctoram.

 

5.0/10

 

HEATHER BLEWETT


Mgła – Exercises In Futility

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“The great truth is there isn’t one” is not only the opening line to the first track from Mgła’s latest opus Exercises In Futility, but a nihilistic notion that is imbued within their soulless take on black metal. Emerging from the black metal underground with the sublime masterpiece With Hearts Toward None (both Northern Heritage) released in 2013, Mgła have fast become one of the most exciting bands in today’s extreme metal scene. Consequently, the follow up Exercises In Futility was one of the most highly anticipated releases in black metal this year, so no pressure then.

No superfluous song titles here, simply ‘Exercises in Futility I’ to ‘VI’ are the track titles, and that is all that is required as each song cohesively blends to the next, an album best appreciated in its entirety, rather than picking out individual tracks. Mgła execute an effective balance; despair and hopelessness outlines the bleak tone, yet the sweeping guitar rhythms are majestic and uplifting. The production upholds a frosty atmosphere, whilst remaining crisp and bold. Guitarist Mikołaj ‘M’ Żentara utilizes harsh dissonant riffs, alongside flowing melodies, a feature of their music that makes for such a compelling listen. The tempo changes add a sense of unpredictability, ‘Exercises in Futility VI’ begins with a haunting clean guitar section, followed by a barrage of fast paced black metal riff mastery while ‘Exercises in Futility III’ has a more sinister feel with jarring discords over an austere melody.

Despite the overwhelming misanthropy that is conveyed, Exercises in Futility isn’t as depressing as the lyrical content would suggest, the seamless flow and rousing melodies are emotive and enriching. It’s an album crafted with passion and dedication, which is overtly evident in their music. Mgła have honed a pioneering sound that is now getting the recognition it so very much deserves.

Whilst compiling that albums of the year list, leave space near the top for this one.

 

8.5/10

 

HEATHER BLEWETT


Varathron – The Confessional of the Black Penitents

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A pivotal part of the Hellenic black metal scene along with Rotting Christ, Varathron have remained consistent since their inception way back in 1988. Following the success of last year’s Untrodden Corridors of Hades, the Greek lords of darkness return with their EP The Confessional of the Black Penitents (both Agonia). I use the term ‘EP’ loosely, with a run time of 40 minutes it’s more of a mini album, consisting of 3 new tracks and 4 tracks recorded live in Larisa, Greece earlier this year.

Varathron are as strong as ever, their innovative stamp on black metal continues to flourish as The Confessional… proves.  The title track is atmospheric and alluring, with a ritualistic tribal feel and immediately recognisable growl from vocalist and remaining original member Stefan Necrobyssious. ‘Sinister Recollections’ and ‘Utter Blackness’ further demonstrate Varathron’s aptitude to creating imaginative black metal, the guitar riffs and solos are prominent and catchy, while mysterious chanted vocals in the background encapsulate a Bathory style grandeur that injects a majestic atmosphere.

The aforementioned live tracks are extremely well recorded; as in until the cheering crowd interrupts I was none the wiser it was live, but therefore showcasing how well their music translates to the live environment. ‘Unholy Funeral’ (taken from 1993 Cyber Music debut His Majesty at the Swamp) is a full on rifftastic onslaught, whereas ‘Kabalistic Invocation of Solomon’ takes a mid-paced approach, embracing a more dark brooding atmosphere.

The Confessional of the Black Penitents not only shows great promise for the forthcoming LP but stands alone as a strong black metal record.

 

7.5/10

 

HEATHER BLEWETT