The Thurible's Top 10 Metal Albums of 2015

1. Obsequiae - Aria of Vernal Tombs

It takes a lot for a band in an overcrowded genre like black metal to carve out a sound so distinct that they're instantly recognizable, and even more for that band to move beyond an attention grabbing gimmick to a complete sound. Yet Obsequiae's Aria of Vernal Tombs does both. Combining gorgeous harp interludes with medieval black metal melodies, this album transports the listener to moss-covered ruins and abandoned monastery gardens on the wings of its delicate riffs. Much like Panopticon's Roads to the North did a year ago, this album blew me away with it originality, mastery, and evocative quality. Aria of Vernal Tombs truly is a journey to ages past.

Favorite Track: "In the Absence of Light"

2. Ghost - Meliora

This is it. This is the defining metal act of our generation. Combining doomy hard rock with new-found progressive sensibilities and the same goofy shtick they've been rocking since day one, Meliora finally perfects these Swedish enigmas' formula and delivers one insidious earworm after another. From the triumphant "Spirit" to the equally exultant "Deus In Absentia," Ghost never miss a beat. Whoever Ghost are (I'm not saying some of them show up on this list again, but Tribulation sure sound Ghost-y at times), it's about time the music lived up to the legend. Hail Papa.

Favorite Track: "From the Pinnacle to the Pit"

3. Panopticon - Autumn Eternal

Austin Lunn of Panopticon concludes his three-album love affair with the vast solitude of the Kentucky wilderness in majestic form. On track after track, Lunn captures the beauty and loneliness of dense mountain woods, black lakes and distant white peaks. While Autumn Eternal lacks the bluegrass instrumentation so prominent in Panopticon previous two albums, the rich, post-rock influenced atmospheres are a very welcome addition. As American black metal continues to develop, Autumn Eternal will likely become a touchstone for bands that unite beautiful post-metal melodies with Norwegian black metal's celebration of frost-covered forests glistening on a late autumn night.

Favorite Track: "Into the North Woods"

4. Dead to a Dying World - Litany

It's rare that black or doom metal feels like a work of genius. After all, heavy metal is an unapologetically derivative genre–deeply committed to paying homage and meeting expectations. And while this means that a good black or doom metal band can deliver a dozen solid albums in career, works that completely floor the listener are hard to come by.

That's what makes Litany so special–it's emotional, visceral, masterfully composed, beautifully performed, and most importantly, highly original. There's not a minute of filler on this momentous work, despite its lengthy songs and numerous instrumental passages. Don't let this metal masterpiece pass you by.

Favorite Track: "Eventide"

5. Myrkur - M

I can't deny that Myrkur's first proper album is amateurish at times–some of the transitions are still awkward, and the screamed vocals buried under heaps of distortion and reverb grate just as much as they did on her debut. Yet Myrkur's inexperience is united to an earnestness and a genuine talent for crafting gorgeous atmospheres and melodies that no other black metal band comes close to capturing. Unlike many self-professed "folk" metal bands, Myrkur's integration of Danish carols into black metal feels completely natural, and unlike many recent post-black metal albums, the M doesn't feel like it's being made beautiful against its will. Let the kvltists weep–this Danish model makes more interesting black metal than most scene veterans, and it can only get better from here.

Favorite Track: "Onde Børn"

6. Tribulation - The Children of the Night

The Children of the Night is Tribulation's answer to a black and death metal scene that's forgotten how to make rock music. Like fellow Scandinavian black 'n' rollers Kvelertak, Tribulation infuse their aggressive sound with punk energy and big hooks, producing extreme metal that's surprisingly listenable and even fun. Unlike Kvelertak, however, Tribulation still deliver plenty of black metal menace and theatrics (not unlike another spooky Swedish band that made this list) with their evident love of classic horror and church organs. Heavy metal you can hum along to is back from the dead.

Favorite Track: "Melancholia"

7. Windhand - Grief's Eternal Flower

I'm embarrassed by how little time I spent listening to this album this year, but what few listens I squeezed in left a huge impression. As the 2010s doom metal revival and corresponding hipster fascination with the genre appears to be winding down, Grief's Eternal Flower likely represents the best of doom metal to come–slow, crunchy, and heavy on melody. There's nothing particularly innovative about Windhand, but this album encapsulates all the best elements of the doom revival, from the haunting vocals to the lumbering drum marches and bluesy riffs. In the year of uplifting black metal, doom got even more gloomy.

Favorite Track: "Forest Clouds"

8. Liturgy - The Ark Work

I really, really wanted to hate this album. It's pretentious, pompous, self-important music made by pretentious, pompous, self-important people for a pretentious, pompous, self-important listening public.

Turns out I'm pretentious, pompous, and self-important too, because I can't stop listening to this ungodly smörgåsbord of trendy hipster tripe.

Favorite track: "Reign Away"

9. Elder - Lore

I've heard Elder described as what you would get if prog band from the seventies had been introduced to Mastodon by a meddling time traveler. It's not a bad comparison–Elder combine modern stoner rock's penchant for rugged riffage with the innovation and ponderous song constructions of 70s prog. By injecting high-energy heavy metal into prog rock's meandering opuses, Elder makes their 10-minute apiece songs surprisingly approachable and brings a much needed straightforwardness to a genre notorious for what is essentially musical wankery. There's still plenty of shredding and possibly drug-induced weirdness, but it comes in a package fans of both Rush and Pallbearer should appreciate.

Favorite Track: "Compendium"

10. Ghost Bath - Moonlover

So Ghost Bath's "depressive black metal band from Chongqing" turned out to be a mix of branding and black metal blogs getting carried away. So what? These North Dakotans (spoiler alert) still play some of the best post-black metal around, and Moonlover is a step up from their already excellent debut. If a good sophomore album is more of the same (but better), Moonlover hits all the right notes: more bittersweet melodies, more desperation, more lonely interludes, and much better shrieks–the only major weakness on Funeral. Don't dismiss this controversial act–they're more than Deafheaven in yellowface.

Favorite Track: "Golden Number"

Back to Bandcamp: December 13, 2015

Andacht - Chapter II: Hexerei
(http://andacht.bandcamp.com/album/chapter-ii-hexerei)

A side project of Benighted in Sodom and Ævangelist's Matron Thorn (both acts with an experimental bent), Andacht takes a notably conservative and ambient approach to black metal on this instrumental release. Synth pads soar over traditional riffs and blast beats on "I" and "V," and gothic keys dominate the melody on "II." Hints of post-punk influence (by way of depressive rock) also occasionally come through, especially on "IV." Fans of Xasthur and his ilk will probably dig this atmospheric release, but even they will likely be put off by the lack of shrieks on a very repetitive work. Andacht may deliver traditional black metal chills and gloom with proficiency on Chapter II: Hexerei, but Matron Thorn works best outside the box. This conservative side project isn't doing him (or his fans) any favors.

Not Recommended.

Black Magick SS - The Owls of Winter/Talisman
(http://blackmagickss.bandcamp.com/album/the-owls-of-winter-talisman)

Black Magick SS have a lot in common with synthwave project Gost: neither really performs black metal music at all, but both are clearly marketed toward those that listen to it. Fortunately, they're also both completely ridiculous and tons of fun, and you can only be grim for so long without craving a little chuckle.

On The Owls of Winter/Talisman, Black Magick SS aka Ghost Down Under deliver two absurd and psychedelic ballads full of acoustic strumming, unholy organs, and pseudo-monastic caterwauling. The operatic vocals and ominous guitars on  "The Owls of Winter" drip with mystery and 70s occult kitsch. "Talisman" combines spooky melodies with black metal snarls, producing what sounds almost like an acoustic Tribulation demo. And that's all there is to it. If you're looking for more occult rock silliness from the Ghost/Blood Ceremony/Jess & The Ancient Ones School of Musical Theater, you can't do much better than this.

Recommended.

An Autumn for Crippled Children - portugal EP
(http://anautumnforcrippledchildren.bandcamp.com/album/portugal-ep)

An Autumn for Crippled Children are the true stalwarts of blackgaze, or "hipster metal," as those who blame relative newcomers Deafheaven for the rise of the genre like to call it. It's surprising, therefore, that portugal lacks the refinement one expects from these Netherlandish niche veterans. Opener "portugal" feels like noise pop with black metal shrieks and blast beats tacked on at times. And although there's nothing wrong with that combination in theory, the song doesn't sound like the work of a band that's been making experimental black metal for years. "seasons change spirits" fares much better, smoothly fusing post-punk structures and triumphant shoegaze with black metal harshness. Both songs, however, are ultimately forgettable. portugal is fine as a throwaway EP, but wait until An Autumn's next album if you're looking for engaging blackgaze.

Not Recommended.

The Thurible Reviews: Batushka - "Litourgiya"

There's a "doth protest too much" quality to much of traditional black metal's attitude towards religion. The fascination is, after all, very one-sided; Christianity cares about as much about black metal as black metal cares about Katy Perry, and yet anti-religious angst remains a prominent lyrical theme in the genre. Even more suggestive, though black metal may pay lip service to Satan, the monk robes, incense, and general obsession with religious iconography and ritual tells another story. Black metal may loathe traditional religion, but it also envies its antiquity and mysticism; qualities most black metal bands are eager to embrace and that the faux-spirituality of Satanism and neopaganism don't deliver.

Poland's Batushka embrace the tension between traditional black metal and traditional religion on Litourgiya. Combining black and doom metal aggression with the haunting chants of the Russian orthodox church, the band actually captures the ritualism and esotericism many black metal bands lust after. The rich, sonorous vocals give a depth and texture to Litourgiya's ominous atmospheres on tracks like "Yekteniya 1" and "Yekteniya 6." The impressive lower range of Batushka's vocalist shines throughout the album, delivering more than a few moments of startling resonant depth.

Yet the band's unique style isn't perfect. At times, the chants and riffs battle each other for dominance in the mix. This is black/doom with choral vocals, not a harmonious union between black metal hatred and orthodox liturgy. Litourgiya is an album carried by a gimmick; when the band embraces that gimmick, they produce primeval, mystical atmospheres of deepest dread. When they don't, it's little more than standard black/doom with chanting sprinkled on top for flavor. While Batushka prove they are proficient black metal musicians on tracks like "Yekteniya 2," that's not what the audience is here for. The shrieked vocals on the album usually feel unnecessary, and the strongest tracks give the resonant, solemn vocals center stage.

Recommended.

Back to Bandcamp: December 5, 2015

Here's your weekly roundup of indie releases:

Blackhand - Death Takes Root
(http://blackhand.bandcamp.com/album/death-takes-root)

If you can't stand the recent fetish for meandering, lumbering, 12-minutes-a-song doom/stoner metal but you're down for unapologetic, occult-infused fantasy and huge hooks, Blackhand should be right up your alley. This Delaware band cranks out earth-shaking riffs and howled choruses on every track on Death Takes Root, combining stoner songwriting sensibilities with old-school doom imagery. From the aggressive sacrilege of "Bound by the Coven" to the supernatural warfare of "Army From the Void," Blackhand unite old-school heavy metal motifs with modern stoner rock head-bobbing for a listen that's both fearsome and fun.

Recommended.

Dead on Both Shoulders - Juggler
(http://deadonbothshoulders.bandcamp.com/album/juggler).

Juggler is a fascinating listen. Progressive metal sensibilities unite this experimental little collection, but little else does. "Neither, Both" and "Without (Everything Will Be Okay)" are hypnotic, jazzy instrumentals with melancholy guitar leads. The short "Juggler" evokes Tool with just a touch of Kid A-era Radiohead. And "ABCADEBCA," perhaps the closest thing to a traditional song, briefly throws in a dash of autotune on the bridge, presumably just to keep the listener guessing. It's quite a trip, and while Juggler never reaches the level of odd that sends headphones flying across the room, it's quirky enough to keep the listener's attention and entertaining enough to make up for its lack of cohesion.

Recommended.

Secrets of the Moon - SUN
(http://secrets-of-the-moon.bandcamp.com/album/sun)

To call Germany's Secrets of the Moon "black metal" frankly borders of the disingenuous. No self-respecting worshiper of Burzum, Mayhem and Darkthrone would write something that sounds as much like an outtake from Mechanical Animals-era Manson as "Dirty Black," or anything as hum-along as "Hole." Secrets of the Moon can brand themselves however they want, but they're about as grim and kvlt as Ghost at this point. Probably a little less, actually.

And that's not a problem: as highly-accessible, listen-with-your-girlfriend goth metal, SUN holds up. Secrets of the Moon still have an edge to them–vocalist Philipp Jonas' shouts are too rough to be radio friendly, and SUN has enough doomy riffs and aggression to interest fans of heavier stuff–but fundamentally, this record has more in common with recent releases from Katatonia or In Flames, and occasionally ventures into post-punk territory on tracks like "Here Lies the Sun." If even the name "In Flames" makes your blood boil, SUN probably isn't your thing. Otherwise, it just might hit the spot if you're craving a lighter heavy listen with a few doom and black metal touches.

Recommended.

Back to Bandcamp: November 21, 2015

Here's your weekly roundup of indie releases:

Turia - Dor
(http://montturia.bandcamp.com/releases)

It speaks volumes for the integrity of these Netherlanders that they opted not to market Dor under the much maligned (and frankly, deeply cynical) female-fronted label. I supposed I've just ruined that for them by mentioning it, but it's the thought that counts.

There are no frills or gimmicks on this atmospheric black metal debut. Frantic blast beats and dense, repetitive riffs drive most of the record, uniting with vocalist T's harsh screams for a bleak and gloomy listening experience. While Turia's raw and earnest performance sets Dor apart from other atmospheric projects on tracks like "Ascese," it's also the band's greatest weakness: Dor lacks variety. Apart from the ambient ending of "Halsstarig de Dood Tegemoet," every track on the record follows essentially the same style and structure—slight variations to a melancholy progression over rapid and cacophonous percussion. Otherwise, its a strong debut, and certainly a worthwhile listen for atmospheric black metal fans.

Recommended.

møl - II
(https://moeldk.bandcamp.com/album/ii)

The term "hipster metal" probably gets tossed around a bit too much. That said, møl's II is triumphant, shoegazy Deafheaven worship of the most unabashed kind. There's not the slightest hint of grimness on this EP; these five Danes play high-energy glasses-and-short-sleeves black metal of the most egregious kind, and they're damn good at it. If huge, soaring melodies and bright, clean production are your thing, you can't do much better than møl's hum-along choruses. If uplifting progressions and bassists wearing baha hoodies make you run for your treasured 1996 cassette of Filosofem, you'll probably hate this slightly less than you hate Hunter Hunt-Hendrix. To each their own.

Recommended.

Akvan - بلک متال آریایی
(https://akvan.bandcamp.com/album/-)

Ready for this?

Akvan play True Ayran black metal; that is, black metal inspired by the music and culture of Iran. If you like your black metal subversive, you can't do much better than this middle finger to racism and Islamaphobia. If you like your black metal folksy, then you'll enjoy Akvan's masterful incorporation of Iranian instruments and scales into traditional black metal aggression, especially on the second track. بلک متال آریایی  runs less than 15 minutes, but it's a quality EP hinting at even greater things to come from this Persian solo project. Good luck telling your friends what your favorite track is.

Recommended.

The Thurible Reviews: Spectral Lore - "Gnosis"

When a black metal band announces a couple of experimental projects before their next album, the fans usually start sweating. Not that anyone thinks that Greece's Spectral Lore, one of the most revered and beloved artists in the scene, is going to go full Mortiis, but fans of Wolves in the Throne Room are still nervous after Celestite, and as Alcest's recent transformation into pure shoegaze demonstrates, there's always the risk that a black metal band flirting with cross-genre influences will fall in love with them.

Fortunately, despite being experimental in concept, Gnosis isn't particularly avant-garde or conceited in execution.

In fact, as a flirtation with eastern folk influences and melodic black metal of the Obsequiae variety (may the gods of metal ever bless their harpstrings), Gnosis holds up exceptionally well. It's very different music from the cold, atmospheric progressive black metal of Spectral Lore's last studio album, and even more different from the instrumental space ambiance of Voyager, the band's last experimental project, yet it lacks the amateurish quality of a band merely "trying on" another style. According the bandcamp blurb, Ayloss deliberately avoided looking too deeply into the eastern influences he channels on Gnosis, hoping to leave himself unencumbered to organically blend black metal and the transcendental quality of oriental spirituality. Or something like that. The songwriting tools Ayloss uses on Gnosis are his own, and while he borrows a few eastern instruments and scales, there's no attempt at cultural authenticity getting in the way of his musical instincts, even on acoustic folk numbers "Averroes' Search" and "For Aleppo."

On the more straightforward black metal tracks, Ayloss builds complex melodies around intertwining guitar and bass riffing, mesmerizing the listener as the various elements dance around each other, fading in and out. While tracks like "Gnosis' Voyage Through the Ages" do include shredding, the melodies on Gnosis are usually subtle and difficult to isolate, partially because of Ayloss' prominent use of dynamic bass guitar harmonies. The drumming, on the other hand, tends to the unobtrusive. Even the more lively drums in the opening of "A God Made Flesh and Consciousness," arguably the heaviest track, remain solidly in the background.

Ayloss made a deliberate decision to bury his screams deep in the mix on Gnosis. For a less meticulous artist and a less competent producer, this decision could have sabotaged the whole record. But Gnosis' dense layers of interweaving guitars, light orchestral elements, traditional eastern instruments, and distant screams are perfectly balanced throughout the record, thanks in part to excellent mastering by Krallice's Collin Marston. The solid production and delicate mix brings Ayloss' mastery as a composer to the forefront, allowing the progressive leanings of the record to shine.

If the record has a weakness, it's closer "For Aleppo," which lacks the engaging quality found on the other tracks. While the song isn't a bad piece of folk ambient, it tests the listener's patience with nine minutes of meandering tanbur arpeggios over an unvarying synth pad. Perhaps the same concept should have been executed in half the time. Overall, however, Gnosis is an excellent piece of melodic black metal that should please Spectral Lore fans and leave them pleasantly engaged until the arrival of Ayloss' next full length release.

But seriously, hurry up.

Highly Recommended.

The Thurible Reviews: UltraSuicide/Mire of Despondency - "Loch of the Degenerate Realm"

God knows what the point of the digital split is, but UltraSuicide and Mire of Despodency, two relative newcomers to the depressive black metal scene, decided the world needs another.

Loch of the Degenerate Realm begins with "Abyssal Depravity," the only collaborative track in the split. Thane of UltraSuicide, who produced the entire effort, captures the traditional black metal rawness effectively on this track with his frenetic drumming and heavily distorted riffs. Thane's screams are harsh and throaty, contrasting with Nokturnus of Mire of Despondency's plaintive shrieks. The mix on "Abyssal Depravity" tends to the cacophonous, and the song's meandering structure starts a trend that continues with the next five tracks. On "Axis of Mind," Thane's clumsy, frantic drumming augments the rawness he's trying to convey, but just as often its first-take quality proves merely distracting. "Seeing Misery" presents a slower and more accessible version of UltraSuicide's sound while still embodying Thane's loosely structured and aggressive style of depressive black metal. The final track on UltraSuicide's half of the split, "Dying Mental Dream," includes an unexpected atmospheric passage before returning abruptly to screeching raw black metal riffs and Thane's discordant howls.

Mire of Despondency's debut album, Sorrow Is A Void, hit all the worst bedroom black metal notes with its shoddy production, synthesized guitars, ambient meandering, and general amateurism. Nokturnus' second stab at black metal benefits from Thane's more competent mixing and a more straightforward songwriting approach, but it still feels green and still suffers from repetitive, manifestly artificial guitar riffs. Nokturnus' shrieks, which have improved significantly, compete with the music on "Apnea," and the problem continues throughout her half of the split. The drums, which often consist of a single kick or snare looped for the entire song, never fit well into the mix, especially on tracks like "Reaping Moon." Nearly every transition includes a jarring shift in production style and quality.

The final three songs of the split measure up much better. Nokturnus can write haunting, beautiful black metal melodies when she doesn't ruin them with artificial guitars and excessive reverb. The keys that drive "Lorn Path" and "Tenebrous Void" communicate Mire of Despondency's potential more effectively than the guitars of "Apnea" or "Pennsylvanian Winter," but there are glimmers of genuinely poignant black metal music on every track. Closer "Celestia" thankfully dispenses with the most aggravating elements of Mire of Despondency's sound in favor of a lone echoing strum to complement Nokturnus' mournful shrieks.

Genre fans of raw depressive black metal might find UltraSuicide's contribution to the split a worthwhile listen. Mire of Despondency's half is more frustrating. Nokturnus has talent as a songwriter, a pretty good shriek, and she composes what could be excellent atmospheric black metal if she could only dispense with the irritating midi guitar riffs, balance the mix, and make better use of synths and keys. As it is, Loch of the Degenerate Realm is a deeply imperfect record, a baffling mix good to average songwriting and very poor production and mixing decisions.

Not Recommended.

The Thurible Reviews: Hegemon - "The Hierarch"

Black metal always leans dangerously on the ridiculous. In a genre where corpse paint and songs about Cthulhu are the norm, orchestral elements (horns, choirs, strings) are the sort of thing that push what's meant to be dark fantasy into the realm of black comedy (see: Cradle of Filth), especially if the record isn't properly mixed. Symphonic black metal isn't easy to get right, and very easy to get hideously wrong.

That's what makes France's Hegemon so exceptional.

Hegemon write great symphonic black metal. Songs like "Interpreting Signs for War: Auspices" and "Elysean Expectations, Earthly Deceptions" combine the band's knack for beautiful guitar darkness with soaring choirs and acoustic arpeggios, creating thick atmospheres of war-hungry malice. The Hierarch is full of exultant choruses and traditional black metal riffs. The orchestral elements always augment the album's aggressive black metal core, complimenting Hegemon's songwriting rather than compensating for the lack of it.

There's nothing shocking on The Hierarch. This is triumphant, symphonic black metal without twists or gimmicks. Vocalist N delivers a dynamic and engrossing performance, ranging from chants to growls to shrieks in the opening of "Atomos: Seed of the Quantic Gods" alone. Varied song structure keeps the familiar black metal tools Hegemon rely on (blast beats, tremolo riffs, menacing chugs) from wearing out their welcome, as does the occasional ethereal interlude on tracks like "Credo Quia Absurdum." On the album closer "Hierarch: The Empire of Zero," Hegemon demonstrate the same masterful amalgamation of growls, chants, foreboding riffs and haunting orchestral keys they did on the opening track. The perfect balance the band achieves between symphonic and black metal elements never falters.

Highly Recommended. 

The Thurible Reviews: Moloken - "All Is Left to See"

(Judging by the fustian and stiff English description on their bandcamp page, Moloken's third album is meant to be titled something closer to All That's Left Is To See. Don't name your album in a foreign language without consulting a native speaker, kids.)

Sweden's Moloken have grand ambitions. You can tell by the fact that they use the phrase "genre-fascism" unironically in the bandcamp blurb for their latest effort.

The post-metal/sludge foursome's third album, All Is Left To See, is a concept album (the first in a planned trilogy on human darkness ) packed with nontraditional song structures, ambient interludes, and crunchy prog riffs. It's often a little overambitious; a curious characteristic for a half-hour-long release that feels even shorter. Moloken eagerly experiment with wildly varied song lengths ("Burst" lasts barely over a minute. while "Seventh Circle" last seven) and unusual instruments (mallets on "Wreckage"), but never inspire the pleased incredulity that good experimental metal should.

Moloken hit their stride on the heavier songs. The soaring middle of "Seventh Circle" captures the despairing, visceral earnestness the band seems to be chasing, as does the first half of "I Dig Deeper." When All Is Left To See works, the jagged, hardcore-inspired vocals combine with sludgy riffs to deliver an emotional and punchy listening experience. When it doesn't—mostly during the album's numerous experimentalish instrumental passages—the band feels like they're stalling for time, building to a crescendo that never comes, or perhaps trying to obfuscate the fact that All Is Left To See is essentially a glorified extended play rather than a full-length release.

While All Is Left To See works better as a cry of hopelessness than brooding introspection—and Moloken seem to want it to be both—the success of the former on tracks like "Subliminal Hymns" and "All Is Left To See" makes up for the questionable merit of the latter. It's certainly not a career-making release, but a good release. Moloken can do progressive atmospheric sludge well when they're not preoccupied with being existential and experimental.

Recommended.

Back to Bandcamp: November 13, 2015

Back to BandCamp is The Great Thurible of Darkness' weekly spotlight on indie releases.

Hallowed Hands - Hallowed Hands
(http://bluebedroomrecords.bandcamp.com/album/hallowed-hands)

Anyone up for video game-themed black metal?

Hallowed Hands debut is charmingly atypical. A weirdly listenable mix of solid depressive black metal with touches of classic video game music held together by an ominous gaming theme, Hallowed Hands are one of those bands that keep you wondering if their whole shtick is just a sick joke or if they're really into this bizarre concoction they're serving you. If the whole thing is a joke, it's a good one. If not, it's still enjoyable DSBM with great riffs and a fun gimmick to keep you interested.

Recommended.

BARUS - EP
(http://ladlo.bandcamp.com/album/ep)

French death metallers BARUS deliver crunchy riffs and wonky time signatures on their debut EP, along with a few surprises. This is progressive death metal you can bob your head to, but it also has a mystical quality: the EP is littered with chanted invocations and biblical references, as well as acoustic interludes soaked in dread. There are even a few near sing-along moments evocative of Opeth, and vocalist Keithan plays crooner and growler with equal mastery. May the French ever curse us with such delightful death.

Recommended.

Battle Path - Ambedo
(https://battlepath.bandcamp.com/album/ambedo)

Tennessee's Battle Path play woodlands doom metal with atmospheric black metal frills. On Ambedo, they wander through synth-infused post-metal soundscapes with lumbering chugs, only occasionally interrupted by black metal ferocity. This is doom metal of the melancholy variety: more dedicated to building morose atmospheres than memorable riffs. And that's fine. Battle Path inject just enough aggression to keep Ambedo interesting, while still giving keyboardist Christopher Davis space and time to build haunting melodies and ominous echoes. The band also avoids the cardinal vice of atmospheric metal: lack of variety. Every track brings a new twist on the band's atmospheric doom/black formula.

Highly Recommended.

The Thurible Reviews: Dead to a Dying World - "Litany"

It's clear from the credits alone that Litany is a special album. You don't come across many blackish doom bands with violins, three different kinds of acoustic guitar, orchestra bells, brass and a hammered dulcimer; not to mention guest appearances from members of Sabbath Assembly and Pallbearer. Dead to a Dying World's sophomore effort is, therefore, unsurprisingly difficult to classify. There's plodding, doomy guitars, ominous chanting, gorgeously interwoven violin and guitar melodies, and extended instrumental movements—yet Litany never feels incongruous the way that, say, Kayo Dot's incorporation of jazz and chamber music into black metal does. This isn't experimental music in the Deathspell Omega or even Menace Ruine sense, but it's nevertheless groundbreaking and highly original.

Considering "atmospheric" has been essentially reduced to another genre tag, it doesn't capture what Dead to a Dying World have achieved here. Litany feels carefully crafted in a way extreme metal rarely does, and perfect balance every song strikes between doom and classical elements captures the mournful spirit that bands that label themselves "atmospheric" wish they could emulate. Dead to a Dying World call their music "apocalyptic," and the musical nihilism that implies perhaps comes closest to conveying the terrible beauty of Litany's six movements.

It's difficult to evaluate the songs on Litany individually, as the album flows seamlessly from track to track. That's not say each song doesn't have a unique character—"Beneath the Loam" is a very different song from "Cicatrix"—but rather that Litany is such a holistic enterprise that to divorce any part from the musical narrative of the whole would be disservice to the band and the listener. It's an album to get lost in. Music this masterfully composed and passionately performed deserves an unbroken hour of your time.

Highly recommended.