I don’t know about you, but it feels like there is an extreme metal renaissance going on. Not exactly a second wind, (or third, fourth or whatever it is we’ve gotten up to now – I’ve sort of lost track) more a confidence in its own sheer existence. With Black Metal in particular, the early waves have a sort of wild, wide eyed glee about them – almost as if the perpetrators themselves are surprised they have an audience.
But, times change, and while BM still isn’t really in a position to enter the mainstream*, it’s now comfortable enough in it’s own existence that a BM band doesn’t have to follow the BLACK METAL RULES. You can now throw all kinds of stuff in the mix, or have PRODUCTION VALUES, and you don’t get laughed at by a record shop owner in Olso. Well, he might laugh, but no-one cares what he thinks any more. Bands are now free to do whatever the hell they want. Which I’m pretty sure is a BM value, isn’t it?
(*yeah, there’s a couple of bands that have come close, but, seriously, gain some perspective on this: there’s big, and there’s big in metal – quite a difference)
Svart Crown have their own vision of extreme metal. The French metallers, who recently signed to Listenable records, have just released ‘Witnessing the Fall’ – their second album, and it promises to be very black indeed. At least, I THINK it’s black metal: it’s breaking a hell of a lot of rules.
I know there’s a cliché about judging books and covers, but to be honest – this is one of those ‘what you see is what you get’ moments – it’s so obviously an occult metal album. It’s a pair of figures in a world of their own, which we’re clearly not a part of, and it’s a bit unsettling. I like it – it’s easily one of the better BM covers I’ve seen, and has a level of detail that screams to be released on vinyl so you can gaze at the insane level of detail.
Musically it’s a bit of a mix. It’s all extreme, and it’s all VERY brutal. But it’s SO well recorded – the drums in particular sound fantastic. Vocalist, JB Le bail has a growl that’s more death metal than black metal, and together with C Frandrois haas a very effective, if novel take on the black metal sound- I’m actually sure I heard a fair few tunes in there. That’s pretty much what struck me with the album – it’s got total Black Metal intent – but it’s borrowed liberally from Death Metal and from Doom Metal, and I reckon there’s some thrash in there too. And some 70’s metal style melody. Now, when I say ‘Death Metal’ I mean the GROWL – and the groove. You do have to understand it’s a groove viewed through a black metal filter, so its still a bit spiky, a bit angular and a bit discordant, but it’s a groove all the same. And the same applies to ‘melody’ – there are riffs with a tune – just don’t try and hum along – people will think less of you, and probably back slowly away.
Openers ‘Colosseum’ and ‘Dogs of God’ are lightning fast monsters – mostly blastbeats and evil sounding guitar: guttural riffs, and primal leads. ‘Dogs of God’ has an early Sabbath style midsection that duels with a more straightforward death pattern which follows it, and the end half of the song is a fight between the two, which promises to be insane to watch live. ‘Nahash the Temptator’ continues the blackened death template, but has a slower, nastier break toward the end – the wailing and screaming guitar is probably the highlight of the album: set against frantic and complex drums and an evil roar, it’s probably the best indication that this band are on to something either very good, or very evil – depending on how you look at it.
Having said that, it’s a matter of opinion, since the latter half of the album carries on the theme of ‘Nasty, evil sounding death metal with a touch of something different’: changing pace and tone, and going off into a deeper doom sound for the contrast. This is most apparent in closer ‘ Of Sulphur and Fire’, an eight minute beast of a track which mixes the frenetic drumming and caustic guitars with a slower, more hypnotic vibe, a bit like the opening of ‘Black Sabbath’, but with more growling. And some blisteringly discordant guitar work, which echoes and shimmers like firelight on cold stone.
It’s a monumental ending to an intense and captivating album.
Svart Crown have taken what could be a clichéd sound (let’s face it – blackened death metal HAS been done before) and mixed it with an unexpected doom vibe. This, for me anyway, is what makes this album stand out from what’s becoming an increasingly large crowd. While it would have been easier (and a little safer) to come up with something less adventurous and complex, it’s not really what Black Metal is about. This album is different, and spellbinding. At any second you never really know where any song will head off to. Incredibly, it always seems to be the right direction.
‘Witnessing the Fall’ is out now on Listenable Records
