All of Noktorn's reviews.
Aeveron's Construality
Brilliant ideas trapped within blister packs - 69%
Written by Noktorn on June 28th, 2006
Do you ever get the feeling that all the various subgenres of metal are starting to congeal together? Yeah, I know what you're thinking, 'But there are more subgenres now than ever in the history of metal!' True, except they all sound the same nowadays. This can most clearly be seen in the line (or lack thereof) between death and black metal. My god, Euronymous must be spinning in his grave if he's reading this review. What could be a more perfect example of this phenomena than a little German band named Aeveron?
For those of you that aren't aware of what the kids are listening to these days (with their rap and hip-hap and crack smoking) Aeveron is a melodic death/black metal band with influences from, you guessed it, every band in the universe. There's Keep Of Kalessin, there's Dark Tranquillity, there's In Flames, there's Slayer; theoretically, everything anyone could want from a band in one bite-sized package named 'Construality'. We have a healthy mix of Gothenburg-style growls and clean vocals, melodic lead guitar (though, to the album's credit, not such blatant Iron Maiden worship as Aeveron's cousins to the north are guilty of), and a healthy amount of double bass drumming.
'Construality' generally works fairly well simply due to professionalism. Listening to this album let's you know everything about the band: they've clearly done their homework, not only on talented instrumentalism, but on effective songwriting. The songs almost seem scientifically engineered to sound good to the average listener, using tried-and-true techniques such as acoustic breaks hook-laden lead guitar to ensnare the listener. When taken at face value, 'Construality' is an excellent album. When taken in the context of a metal listener, however, it becomes a tad flatter.
The central problem of 'Construality' is a simple lack of material. Not in pure content, no; 'Construality' weighs in at over 40 minutes, so that's not the problem. The issue at hand is what MEANINGFUL content is in each song. Upon listening, it's fairly obvious that each song is based around one or two ideas, stretched out over a period of three to six minutes. The examples are remarkably obvious: the acoustic portion that opens 'Trapped Within Me', the main melody to the title track, or the harmonizing leads of 'Nocturnal Skies' are so obviously the central ideas of the songs as to almost become parodies of themselves. A band like Deicide can get away with this because they are able to distract the listener sufficiently so as to not tip their hand; Aeveron, as a relatively new band, does not yet have that skill. In a way, it resembles the flaws that plagued early Dark Tranquillity (although said band seemed to do this with an almost palpable malice towards the listener), where neither band really knows what to do between ideas, and ends up meandering between stock melodic phrases.
At this point, Aeveron is faced with two viable options: become a grindcore band, where single ideas can be used in microsongs that carry the message swiftly and efficiently, or let their tracks simmer in satan's crock pot a tad longer. Aeveron is by no means a bad band; but more focus is needed on making the songs conceptual entities if they want to achieve the greatness they so clearly aspire to.
(Originally written for http://www.vampire-magazine.com)
Requiem (Che)'s Government Denies Knowledge
Truly excellent - 94%
Written by Noktorn on June 2nd, 2006
Every goddamn day I hear a press release talking about a band being an 'amazing fusion of old and new'. What the hell? Are artists these days so concerned with increasing market share that they have to appeal to everyone possible? Saying that a metal band is a 'fusion of old and new' is one of the most useless statements in the world, and very rarely is it actually realized in musical form. So it should come as no surprise to you that a band that never claimed to fuse old and new is one of the first to do so, and nearly flawlessly at that.
Requiem is a Swiss death metal band that is still fairly unknown. Imagine a combination of Vader, newer Behemoth, and a tiny pinch each of Sodom and Napalm Death and you'll have a fairly accurate representation of what these guys are up to. With their 2nd LP, 'Government Denies Knowledge', Requiem has very nearly perfected their form of high-speed, streaming death metal. With the first couple listens of this album, I was genuinely shocked at how clean and professional it was. This album, production-wise as well as musically, is definately at the top tier of the metal scene these days.
In a refreshing change from what is typical these days, every song maintains a unique identity. Be it the Vader-style stream of 'Bloodcult', the fury of 'Inconsistent Consequences', or the insane frenzy of closer 'Two Sides Within', Requiem never fails to write intelligent, engaging death metal. However, the champions of the album are 'Signal Zero' and 'Diary Of A Damaged Brain', with quite possibly the most spectacular grooves ever heard in traditional death metal to this day. And for those a tad more blast inclined, you get the pure grindcore track 'Sonderkommando 12', that should immediately bring memories of 'Scum' back to you as soon as it kicks in.
In another interesting turn, Requiem's lyrics are extremely political in nature, not to mention surprisingly well-written. "Picked by a few to speak for all/Ensuring us nothing can go wrong/Only building towers destined to fall/Seems there's none that's really strong" growls vocalist Michi Kuster on the title track, with a genuinely high amount of conviction for his statements. Backed up by frenzied guitar and drum performance, none could possibly deny the power of this album. This record is a must-have for any death metal fan. Hats off to Requiem for proving the genre isn't quite dead yet.
(Originally written for http://www.vampire-magazine.com)
Vorkreist's Sublimation 29A
Very strange, but ultimately quality - 81%
Written by Noktorn on June 14th, 2006
It seems that a while ago, the influences that bands chose were much more logical. Every band took the cue from it's forefathers, and so forth while that genre naturally evolved. Now, however, influences are taken from handfuls of favorite bands, without any special attention payed to genre (or logic, for that matter). Some bands pull this off well, and use their myriad of progenitors to create uniquely stirring compositions. Others end of creating unfocused exercises in an attempt to be everywhere at once. Fortunately, French black/death project Vorkreist are mostly the former.
'Sublimation XXIXA' is a very, very strange album. While the songs themselves don't really have distinct identities, odd portions stick out like needles in your mind. Vorkreist is not a typical black/death metal band in the vein of Akercocke or Belphegor. No, these guys like to combine blackened vocals with a rigidly defined song structure in old-school DM tradition. On top of that, there are some very distinct portions taking cue from the entire range of each genre, from ripping, raw BM to guttural slam death. Luckily, Vorkreist is able to hold the songs together with logical, professional song structures and melodies that, while not the most innovative ever, function well in their context.
A number of moments stick out on this album. For instance, one might remember the strange bass interlude on opener 'Great Orders Of Sterile Lunacy' reminiscent of Carpathian Forest (perhaps the band Vorkreist is most similar to in their style of mid tempo, high note frequency grooves), or the grandiose, psuedo-neoclassical melodies of the title track. 'Thy Death Divine', possibly the best track on the album, displays some very interesting yet traditional BM melodies which I thought were all exhausted at this point. Perhaps the strangest track of all, however, is 'Sodogma', with it's strange alternating vocal/drum patterns and truly bizarre slam death breakdown midway through, pinch harmonics, chugging riffs and all.
That being said, the album is not without it's faults. The second half of 'Sublimation XXIXA' doesn't quite live up to the first half, being much less memorable than the first. It's not without its merits, however; 'VKT Konklave' sports an infectious melodic groove that gets stuck in my head every time I hear it. Generally, however, it doesn't stick quite as well as the first half. However, Vorkreist has created a very good album in 'Sublimation XXIXA'. While not something that will convert people to metal, it should very much appeal to black or death metal fans looking for a unique and rewarding take on the fusion of those genres.
(Originally written for http://www.vampire-magazine.com)
Morbid Angel's Blessed Are the Sick
One step down, two steps forward - 96%
Written by Noktorn on June 8th, 2006
Well, after my life-altering experience with the previous Morbid Angel album 'Altars Of Madness', it's no surprise that I immediately purchased the rest of their rather extensive catalogue. Quite logically, I eagerly anticipated this album, often having heard of it being the best of the classic Morbid Angel trilogy ('Altars Of Madness', 'Blessed Are The Sick', and 'Covenant'). As one of the most revered albums in death metal history, routinely nearing the top of most lists of great metal albums, my standards were quite high. Unreasonable? Perhaps. Understandable? Certainly.
Even in the very first contact with this album, I realized that something had fundamentally changed with the band. A cursory look at the album cover will tell you all you need to know. While the art of 'Altars Of Madness' was professional but still had an endearing, amateur quality, 'Blessed Are The Sick' was much darker and, in a way, more serious. The comic-book style tortured faces had been replaced by a beautiful and grotesque painting that still seems to perfectly embody the spirit of this album. That spirit being the inherent sickness of the human condition, all of our excess and sin wrapped up in a package of flesh. The art flawlessly conveys it, with an unbroken chain of throbbing, nude humans drifting into a demon's horrific yet sensual maw.
In a way, the concepts of this album are direct reversals of those of the previous. Where 'Altars Of Madness' was a celebration of the metaphysical power granted by Satan, this album is quite worldly, celebrating sin not for it's strike against god, but for pleasure in and of itself. 'Altars' reveres strength; 'Blessed' reveres the weakness and infirmity of mankind, drowning on its disease and mortality. While Satan is the protagonist of 'Altars', crafting Morbid Angel into willing tools of his bidding, the band seizes control of its own destiny in 'Blessed', only worshipping a pantheon of H.P. Lovecraft's mythical demiurges for their own motives, not for an actual reverence of those powers greater than them. Even on the very first true song, David Vincent expresses is directly and succinctly: 'I am lord I take command!'
Speaking of songs, the album opens on an intriguing note, with an ambient 'Intro'. This is quite important for a number of reasons. First and foremost, this is the first step into ambience for Morbid Angel, where such experimentation would become a staple of their later albums. One should notice how every single Morbid Angel album after 'Blessed Are The Sick' has at least one if not more small intermezzos of this type. Secondly and more importantly, this represents one of the first major experiments in atmosphere in the history of death metal. While introductions and intermissions of this sort are now commonplace, this was at one point a very large departure from death metal, which had still mostly been concentrating on formulating precisely what the still-new genre of death metal would be composed of. Finally, this underlines the main emphasis of this album, that being atmosphere. While the first release had been one of sonic violence, 'Blessed Are The Sick' shows Morbid Angel functioning as a more cohesive whole.
One of the things that was such a shock to me upon hearing this LP was the immediate realization that Morbid Angel had entirely changed as a musical entity. While 'Altars Of Madness' was lightning-quick and perpetually overdosing on enthusiasm, 'Blessed Are The Sick' is far more professional and musically even. One might draw an aeronautical analogy, in which 'Altars Of Madness' is the speedy, agile fighter, while 'Blessed Are The Sick' is a slower, more deliberate, and, in some ways, more devastating bomber. One can hear this as early as the second track, 'Fall From Grace', with it's slow, menacing riff draped over bass-heavy drum work. Morbid Angel seems to relish in a build-up of this sort throughout the album, dedicating a full forty-eight seconds to this tension-laced uphill climb before the blasting begins on this particular composition. The overall tempo of this album is slightly lower than that of the previous, though with some clear exceptions; as Trey Azagthoth says on the linear notes of the re-release, 'Brainstorm' is faster than anything that occurred on 'Altars Of Madness'.
The production of this album is an obvious improvement over 'Altars Of Madness'. The sound now has a genuine low-end and has lost most of the original's thin, screeching production. While the textures of the individual instruments are diminished, it makes up for it in a thicker sound, appropriate for the general atmosphere of the album. Of particular note would be the drum production, which would set the standard for death metal for years to come. If one listens carefully to the sound of the bass drum, one can hear that same flat, wet, thudding tone like a hammer on flesh repeated in future albums. The lack of triggering makes everything sound more organic, especially when combined with the newly churning riffs that define this album. Overall, one could describe the production as 'fleshy', as most of the instruments have a very warm, soft, but still heavy, tone.
Performance wise, the band improves manyfold over their debut. The guitar duo of Trey Azagthoth and Richard Brunelle plays similarly to their debut, with the obvious exceptions of differing melodies and technical evolution. One of the central differences is a larger experimentation with the rhythm of the guitars, such as on 'Blessed Are The Sick/Leading The Rats', somewhat resembling the off-kilter groove of earlier classic 'Maze Of Torment'. The guitar tone, while not as sharp and venomous as that heard on the previous release is quite capable, with a similarly organic tone as the drums. Solos are not quite as manic in their intensity, although still as discordant as before. They, like most of the album, are more cohesive and studied as a whole, dropping the endless barrage of 32nd notes and savage abuse of the tremolo bar in favor of more dynamic rhythm and melody. Bass, like the first album, is mostly inaudible and follows the guitar, although this is not to the detriment of the album as a whole.
At this point, bassist/vocalist David Vincent now had a handle on his vocal stylings. A large change from the throaty rasps of 'Altars', he now adopts a simple yet unique growl. Interestingly, this seems to be one of the earlier examples of a technique that would be popularized in later years; namely, where melody is approximated through a less or more guttural approach, corresponding to a higher or lower pitch, respectively. This would later be used by vocalists such as Lord Worm of Cryptopsy or Mike Majewski of Devourment to great effect. Rounding out the squad is the inimitable Pete 'Commando' Sandoval, who's drumming is still world-renowned. One of the most distinctive features of Sandoval's drumming is his exquisite ability to match a guitar riff with his own rhythm pattern, and it is on this album where that skill takes center stage. Yes, his mechanical blasts and double bass are mighty impressive (the blasting on 'Fall From Grace' is terrifying), but when he slows down his performance moves into the section of sublime. Take the vivid, shuffling bass drums and hi-hats of 'Rebel Lands', or the grim, rumbling toms of 'Blessed Are The Sick/Leading The Rats'. The sound of his drums has also improved, with a clearer, thicker tone overall, fitting the increased production budget on this release.
Lyrically, Satan has been entirely left behind, as well as most anti-Christianity. No, the violence in this album is directed at the very humanity that Morbid Angel at once seeps in and despises, not unlike a sort of post-coital loathing, where one is filled with both absolute love and absolute disgust. Of course, some of their past remains (the savage 'Unholy Blasphemies' contains charming lines such as 'Ghouls who pray the death of god/Destroy Jehovah's church/Vomit upon the cross/And burn the book of lies', but overall, the album concentrates on the human experience. One might compare this progression to the Renaissance, where divine themes were rudely shunted aside to focus on the human experience. Often the lyrics express a joy of freedom and sickness, best expressed in the lines of 'Blessed Are The Sick/Leading The Rats', such as 'So many years, my seed condemned/Now free to soar!' or 'World of sickness/Blessed are we to taste/This life of sin'. Vincent makes no qualms about it: weakness and decadence are the whole of the law. Improvement will not occur, so one might as well make haste with the world's downfall. Humanity is fucked.
It would be somewhat amiss to speak of standout tracks, as they all retain a unique identity. However, if it came down to personal favorites, I would nominate thundering opener 'Fall From Grace' and it's ominous development, 'Day Of Suffering’s utter chaotic misanthropy, and the horror of 'Unholy Blasphemies'. However, the champion of this album is by far 'Blessed Are The Sick/Leading The Rats'. I cannot stress enough how well this song functions, not only upon it's own merits (which it certainly does), but as a mission statement for the album, as well as a flawless example of mid-paced death dirges in the early 90s that would be upheld by artists such as Autopsy and Obituary. As an adjunct, I would also submit 'Desolate Ways'. This acoustic piece is both heart-wrenchingly beautiful and deliciously decadent. Like an island in a sea of chaos, it functions as an anchor to beauty without sickness. I'd also like to commend Richard Brunelle on his guitar playing; anyone who has attempted it knows how difficult it is to replicate his stunningly clean performance.
Originally, I didn't particularly enjoy 'Blessed Are The Sick'. I found it lacking the spirit of 'Altars Of Madness', and musically not as direct. These are both legitimate complaints on my part. However, the latter is simply a matter of progression, (genuine, not artificial) which one should not antagonize an artistic piece over. The former, however, I still view as the album's central flaw. While the LP works very well and is by all means a brilliant piece of art, it inherently lacks the beauty and enthusiasm of the first release. While one might say that it was impossible to maintain that sort of passion for more than one album (which may very well be true) that does not mitigate the fact that the pure, balls-out passion of 'Altars Of Madness' is not present on this release. However, it has grown on me over time, and I now view it for what it really is: a beautiful and brilliant, if not flawless, album.
When all is said and done, one can see the leap that occurs between the first two releases of Morbid Angel. While I view the debut to be superior, I thoroughly enjoy this album, and agree that it should be recognized in the pantheon of great artistic achievements throughout history. Truly a brilliant work, and not one that shall ever be forgotten.
(Originally written for http://www.Metal-archives.com)
Northstream's Time of Triumphal Cleanliness
Could go either way, but hopefully upwards - 68%
Written by Noktorn on May 2nd, 2006
Metal has changed significantly over the years. Not simply in the musical style, but in the structure and evolution of it's design. The days of albums being quantam leaps ahead of others are probably behind us for good, but this has in some respects ushered in a new age of evolution over revolution, where, true, not as many massive undertakings will be seen, but not as many children will be convinced that they are the next Burzum. Those who are evolving metal are not doing so through large conceptual leap, but through experimentation resulting in what seems to be a form of cultural natural selection, where those that work prosper, and those that don't fall into the bargain bin at your local record shop.
Northstream is one such band. While not entirely unique in composition, Northstream's combination of pagan sounding black metal with techno percussion results in an intriguing mix of old and new, despite it's crudeness. Another strike in the name of what I like to call NQNSBM (Not Quite National Socialist Black Metal), Northstream succeeds to some degree where many others have failed, namely, making modern black metal without succumbing to the wiles of industrial chaos (Anaal Nathrakh) or neoclassical orchestration (Deathspell Omega). While 'potential' is often an overused word to describe music that isn't quite bad enough to stomp on, Northstream does on this debut EP display a mixture of styles that, with some development, could mean something in the future.
First, with the bad. If you look at this purely based on songwriting, "Time Of Triumphal Cleanliness" is weak, plain and simple. Poor production forces the guitars far into the background, making recognition of already very similar (I'd imagine their copies of Transilvanian Hunger are all but worn out by now) nigh-impossible, resulting in tracks that are difficult to differentiate except through timing. On top of this is a rather tepid vocal performance that exists somewhere in the murkey waters between Attila Csihar and an angry goat. The production, while not the worst, certainly doesn't do justice to the compositions at hand, and produces an extraordinarily thin sound, except for that of the omnipresent drum machine.
It seems somewhat ironic to be hailing a drum machine as the central prize of an album, particularly in one that is supposed to be atmospheric black metal. But in this case, some deft or perhaps accidental programming results in an intriguing spin on an old formula. In most cases, the drum machine functions effectively as an ambient backdrop, although it's use in these situations is somewhat limited due to how loud it is in comparison to the stringed instruments. However, even in these cases an emphasis is set not replicating a human drummer, but placing slightly authentic-sounding techno beats into a black metal framework. One can clearly see examples of the machine slipping into full dance percussion, such as at the end of "New North", which, in combination with the folk-influenced riffs creates a novel and oddly fulfilling tone.
There is an unquantifiably mystical air about this EP. The system of it's contruction brings to mind thoughts of pagan druids given modern technology, fusing ritual magic with machine-like precision. In some ways, this review is like a teacher who coats one's paper with red ink before giving you a B. However, the atmosphere and passion in this album speaks far better than a mere description can. Give it a listen and decide for yourself. For this small group from Russia, the robotic and the organic fuse in an undeniably thoughtful way.
(Originally written for http://www.vampire-magazine.com)
Belëf's Infection Purification
This is fucking insane - 52%
Written by Noktorn on May 21st, 2006
I simply hate reviewing albums like Belëf's 'Infection Purification'. Not because it's a particularly bad album per se, but the style of black metal they specialize in has an inherent relativism to it that makes it extraordinarily difficult to review in an objective fashion. This French black metal outfit has such a specialized target audience that it's really sort of pointless to talk about at all. Like most slam death, this style's fans probably own 'Infection Purification' already.
Belëf like Marduk. Wait, scratch that, the life of every member of this band is based exclusively around emulating Marduk in every concievable fashion. Well that's not so bad, you might think to yourself, after all, Marduk has made some excellent albums. But what if I told you that Belëf, above and beyond simple Marduk worship, idolized the one album by that artist that manages to polarize every single member of the metal scene? Yes, we are looking at Panzer Division Marduk Part Two: More Blasting. Belëf plays harsh, grindcore-influenced black metal that is going to be attractive to about twenty people in the world. Non-stop blast beats, constant tremelo picking, rasping yet guttural vocals, it's all here.
So now that we have the audience for this disc centralized, what is there to recommend about it? Well, the members of Belëf do know how to play their instruments (I can only imagine the ridiculous stamina it takes to play this), and some of the riffs are enjoyable. However, the simple percussive brutality of this album is what will mark your purchasing decision. If you enjoy USBM acts such as Kult Ov Azazel but want the music even simpler and more frenzied, you'll adore this album. If Panzer Divison Marduk is always in your CD player but you think the songs are too varied, you need to get this. I'll admit, the absolute psychotic rage of this album is impressive in and of itself, going for beyond the majority of black metal these days. But does that make it a good album? It really depends on who you are. For me, this album is certainly an amusing diversion, but it's an absolute chore to listen to all the way through. Panzer Division Marduk succeeded because it was only a mere half hour long. Infection Purification is nearly twice that. You'd better enjoy your blast beats.
In conclusion, if you think of the term 'norsecore' as a compliment, pick it up. Fans of Burzum and Summoning just might want to pass.
(Originally written for http://www.vampire-magazine.com)
Hyperion (Ukr)'s Through Centuries
Melodic death metal with an emphasis on the death - 74%
Written by Noktorn on May 23rd, 2006
Often a band or album succeeds not so much through 'originality' (an overused word if there ever was one), but through a reevaluation of typical aesthetics. Even the simplest spin or addition to a time-proven formula, when combined with quality songwriting, can result in something that is perhaps not new, but different and engaging in it's own right. Hyperion, an atypical death metal band hailing from the Ukraine, demonstrates this concept quite well on their debut EP, 'Through Centuries'.
Hyperion, while operating from a fairly standard death metal base, add sufficient elements to stylize their music and make it (at least to some degree) unique. This is a very pure form of melodic death metal, where influences from traditional metal aren't used in the Gothenburg style of the genre, but are manipulated and reinserted into a death metal framework, where there is no diversion between the two styles, but an amalgamation that results in what is quite simply a more melodically developed and inclined form of the genre. Hyperion, however, takes it a step further, incorporating epic, atmospheric elements in the form of classical-styled melodies and well-used keyboards to advance the quality of their compositions.
Are they successful in this attempt? To some degree, yes. Hyperion's combination of advanced melodic development and impressive technical skill (see the title track for it's clever shifts between all-out blasting and other dynamic movements) often come together for some sublime movements, such as on 'Creators Of Absurd'. The melodies this band creates are simultaeneously modern yet ancient, having a timeless, medievel quality to them that that seperates them from the legions of bands adding now-stale folk elements to their songs. The level of skill that this band possesses with their respective instruments is most certainly notable; for such a young band, Hyperion have the technicality and timing of many bands their senior. Overall, 'Through Centuries' is quite a capable little EP.
However, like all things, the mCD not without it's faults. For one, the songs, while of high quality, are not very good at maintaining their identities. Often the album feels like it is one large, dynamically changing song that, while good in some ways, isn't the way it was designed. Also, the band is often overcome by itself, when it's multiple stylistic influences overtake the core, scattering focus between multiple ideas instead of maintaining a coherent narrative. However, these are minor quibbles, particularly with such a young and promising artist.
Hyperion, while still rough around the edges, has all the necessary features to go far. Their combination of pure death metal with unique melodic concepts assures a maintained interest that goes far beyond the mere novelty that is seen so frequently.
(Originally written for http://www.vampire-magazine.com)
Octagon (US)'s Artisans of Cruelty
Talk about artistic polarization - 62%
Written by Noktorn on May 25th, 2006
In some ways, the progression of metal over the years is a double-edged sword. Certainly, we have a wider, more complex set of choices and techniques (like more paints on a pallette) to choose from than ever before. This has most certainly led to compositions that would never have been dreamed as possible merely a few years before. However, it has in some respects created expectations and standards that at times are unnecessary or illogical. Octagon seems to fall into one of these nigh-invisible cracks, where an attempt to live up to modern expectations undermines an otherwise brilliant album.
Perhaps a little background would help. Octagon is a two-piece experimental black metal project from, of all places, Alabama, U.S.A. At first, while in the process of being distracted by the heavy S&M theme and ultra low-fi production, you might not notice how very different Octagon is from the majority of black metal. This is because Octagon's differences shine very subtly, not through novelty ('Every song on 'Artisans Of Cruelty' features a brutal kazoo solo') or gimmick ('Every member of Octagon is an albino'). Strangely enough, Octagon's music resembles grindcore more than black metal, conceptually. Single ideas are given variance through slight alterations in delivery in tone, presenting an idea that is at once fragmentory and complete. Combining this with the agonizing, cold atmosphere of artists such as Silencer or 'Transilvanian Huner'-era Darkthrone, and you create a uniquely disturbing atmosphere that doesn't resemble much else in the scene today.
When they're playing to their strengths, Octagon can devour the competition. The atmosphere is both sorrowful and hateful, not entirely unlike mid-era Mutiilation. The instrumentation is trancelike, in the technique of Darkthrone, but without the same goals. Snatches of other styles such as punk or thrash will peek in from time to time without dominating the music. In all honesty, I've listened to this album numerous times, trying to wrap my head around precisely what it's trying to say. But I have come to the conclusion that this is in fact 'Artisans Of Cruelty''s central problem; namely, a lack of focus and an unnecessary attempt at variety and modernity. Octagon is trying so hard to cover all the bases that they often lose sight of what they are so great at doing; namely, making dark, self-loathing black metal.
In general, the leaps of quality on this album are staggering. 'Artisans Of Cruelty' starts off with a very boring, generic block of three songs in the form of 'With Hate', 'Teachings In Cruelty', and 'Black Leather Mask'. However, a bizarre shift occurs when Octagon decides to present us with what might be one of the best black metal songs ever written in 'Psychotic Erotic', with it's lonely, decrepit atmosphere and Silencer-inspired melodies. For every time-waster like 'The Error That You Are', we get sick, disfigured majesty in 'Futuristic Sadistic'. Octagon is at their best when they simply do what they're good at, without heavy-handed attempts at variety. You'll notice that the best songs on the album sound similar. Perhaps Octagon should go the way of Bolt Thrower.
So in general, Octagon, while a good band, has a ways to go. If they can more closely tie their concept in with their music and simply play on their own merits, they could change the genre. Currently, however, they remain simply a curiosity due to the expectations of the metal community.
(Originally written for http://www.vampire-magazine.com)