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My favorite will remain Nebron - 70%

erebuszine, April 12th, 2013

First let me say that the official title of this release is "Lead Us Into War And Final Glory" (all words are capitalized on the front of the CD), so the people behind this did pick a more imaginative title than "4-way split", although that is how you are probably going to hear this referred to most of the time. This release is, as you no doubt understand this far into the review, a split album between four different bands, including fifteen songs with just over sixty two minutes of material. I don't see the point of dallying any longer, so let's just get into the music.

First up we have British Columbia's Allfather, who appear on this disc with five songs and who get things started in a nice fashion with their style of blasting, Angelcorpse-tinged black death. Having never really heard that much from this band before, I can say that their material went down fairly smoothly with me, without causing major disruptions in my nervous system due to incongruous elements or left-of-center arrangements. Now, because this split is being referred to as a showcase of bands who do not necessarily all agree when it comes to aesthetic determinations regarding their own music, you must be prepared to understand that Allfather are not exactly the type of black metal they usually refer to themselves as, or as they are advertised to the underground. I mentioned Angelcorpse above, and I am sticking with that comparison because my limited experience with Canadian black/thrash bands has made me think - now and before - that most of them can be pointed to as derivative of Angelcorpse and entities such as Conqueror, Blasphemy, Sacramentary Abolishment, etc. without too much misunderstanding. I'm probably dead wrong. When I say that Allfather present a style here that I wasn't expecting or that I wasn't led to expect, it is just a polite way of saying that I was surprised, and that is usually a good thing these days. Allfather's material is short, sweet, heavily percussive, and labyrinthine - in the sense that it is constantly about-facing in towards itself, making references to its own twists and turns - and almost incessantly changing tempo, if not direction. What I like the most is the emphasis they place on the drumming (this will surely remind you of Angelcorpse) and the way that the bass guitar is turned way up in the mix, always gurgling and scraping in the center of the sound field. Short, self-involved circling riffs are thrust forward, tapped, spun around and molested, and then sink back into the general maelstrom. The songs roll forwards, scraping and disintegrating, losing pieces of themselves or picking up other segments - shards of sound - from the ground they traverse. Over all of this the vocalist, C. Klassen, spits and snarls what I can only assume must be confrontational lyrics, going by song titles like "With Glory Unbound" and "Ancestral Resurrection". Solid material, but I believe they might need a little work to differentiate themselves from other bands. If they don't want to do this, then I guess they're just fine and are probably right on track in their natural progression. Who can say for sure?

Next we have two lengthy songs from the Hungarian band Nebron, who appear here with what I think is definitely the best material on this release. The first, "Between Lies and Hypocrites" (I've been in that place many times, let me tell you), is (I'm hoping - looking towards anything they might release after this split) the new blueprint for their entire style: long, drawn-out dark melodies, little transition between constrasting tempos or song segments, rapid changes in riff choices and instrumentation (a part of "modern" black metal to the core - also the hallmark of "professionalism" in the scene), excellent drumming, and an absolutely epic, far-looking feel to the music which makes me think they must always play either staring into the night sky or gazing blindly towards the horizon. This is music to be played after midnight, preferably outside beneath the stars. The contrast between Allfather's claustrophobic density or lack of breathing space and the open, relaxed (yet intense at the same time - one of the secrets of "symphonic black metal"), melodically complex style of Nebron is immediately apparent, and surely just the pairing of these two bands make this split's declaration of offering a "selection" of styles a reality. Nebron has come a long, long way from their earlier (typical, status quo) album "The Message" (also on Dark Horizon Records) if we are to judge just from these two songs. The second track, "At The Pagan Aldumas Night" is a masterwork of atmosphere-building slow riff coalescence and tempo advancement, and I admire the way it moves along under its own volition towards a thematic goal that is not broached until somewhere near the end of the piece. The echoing lead tones near the five minute mark (that then resolve themselves as the intro to a longer solo) are the pinnacle of the entire song's development as they bring to a mesmerizing fruition the earlier boiling of song segments - all of them reaching upwards, higher and higher until the simple, entrancing melancholy of these few notes crystallizes the entire lightless world of the song's eight minutes. Impressive, stirring, epic black metal. After hearing these two songs I'm really eager to get ahold of their next album, when and if it's released.

Indiana's Hordes of the Lunar Eclipse appear next with their take on traditional black metal, checking in with three lengthy songs that revolve around hypnotizing guitar melodies that stretch themselves through several measures, subtly changing but always presenting a bold front with stirring fanfares and strong, anthemic fragments. On the first song, for example, "Within the Scathing Silence of the Withered Shadow Forest" (no, I'm not making that up, that's the actual title) the riffs always seem to come back towards a buzzing, slowly altering melody that pairs dissonant chords together in building an "ominous" inevitability in the proceedings, a main theme that is both morose and yet, at the same time, unapologetically aggressive. This song could have been half as long and it would have communicated the same amount of information - I'm guessing that they stretch it out for so long (ten and a half minutes, almost unbearably long for a black metal song) to capitalize on the trance-inducing qualities of its stubborn structure and most important riffs. Simple comparisons can be made to the group Fog, who also write long, seemingly epic songs, and who share members with this band. The second song "And Blood Became Snow" is completely different, as its title is not only less than half the length of the first song's, its playing time is less than half as long as well. Stylistically, it seems to be of a later date than the former, as there seems to be some sort of progression towards a more thrash-influenced, abrupt, stop-and-start (if not outright "technical") form of riffing and motif progression. It can be compared favorably to the tracks Allfather presents before it, as there are the same kinds of ideas here, but I can't help but feel Hordes... are a little more adept at putting those ideas down on tape, or a little more skilled at laying the jigsaw puzzle of riffs here into some kind of cohesive whole. The next song then will come as a complete surprise as the band changes their style once again, and present instead a traditional, storming, Darkthrone-referencing slice of darkness entitled "Infinite Frozen Bliss". Working from exquisitely simple riffs and a slow, Panzerfaust-like series of tempos, this almost brings the entire compilation to a grinding halt as the song shudders, collapses, and wheezes it way - slug-like, almost geriatric - towards a depressing conclusion. The song doesn't come towards a logical end so much as it just chews its own legs off after being caught in a bear-trap riff halfway through. Crippled, it falls face first to the floor and expires without an excess of drama. A very interesting blend of sounds and techniques from this band!

Finishing out the disc, we have the most primitive band of all four, Gnostic, whose contact address in the CD insert is the same as the label's, so I can't tell exactly where they're from (as you can tell, I put a lot of research into this review), although I know of a Gnostic from San Antonio, Texas. Gnostic check in here with five blasting, traditional, conservative (in the sense that they don't take any chances with their overall sound), extremely raw slices of evil worship, akin in some ways to the early versions of Black Witchery, and sharing stylistic ties with old Blasphemy, Beherit, etc. - in other words, this is corrosive, pounding, simplistic black metal with distorted vocals and lyrics that seem to revolve solely around methods of anti-Christian rebellion, either in terms of idealogy (perhaps that's too strong a word), imagery, sexual iconoclasm, religious dogma inversion, etc. Typical, again, and completely true to the nature of this kind of black metal's history. Speaking of San Antonio, it of course struck me how close this band is in many ways to the first forms of that city's most famous black metal band, Thornspawn (think the "Consecration..." demo), and I would certainly point to lines of influence if I knew exactly where and when this band originated! Having so little to go on in terms of biographical information, let me just describe the music a little more: the tracks from Gnostic stand out from all the others, first of all, because of their rougher production and the immense levels of distortion on all the instruments. Attacking, sharp bursts of rhythmic riffing are interlaced over charging drum patterns (loosely revolving around a blast) and appear harried underneath drowning howls and cries from the abyss. Stylistically, at this point in their evolution, there is very little to distinguish Gnostic from a death metal band other than the vocal style and the lack of palm-muting, as is usually the case with young black metal bands - especially ones from America. I'm not going to claim here that Gnostic have a very strong voice of their own, but I don't think that they really care about that either. These days an "original" approach is often frowned upon in the black metal scene because of the experience of many musicians over the past ten years who have watched formerly relevant bands "progress" or "evolve" themselves right into sterility. That's fine. All I ask for in a black metal assemblage these days is that they write good songs that effectively communicate the anger the musicans feel, or ones that allow the darkness inside them to flow unimpeded into my ears, recharging my own negativity. Walking the fine line between experimental inanity (groundlessness) and stylistic stagnation is dangerous for any band, but many of these underground black metal groups achieve their goals in this respect because of their respect, passionate intensity, and love for the genre. Gnostic seem to succeed in all of these areas, so I call their material worthwhile.

Of all the music on this disc, I think I can estimate that I will listen repeatedly to about seventy percent of it, and that seventy percent also makes me look forward to new material from these bands, which I'm thinking must be the ultimate goal of a release like this... my favorite will remain Nebron, because of their level of songwriting talent and the sheer class with which they assembled their tracks, but all of this is interesting, for whatever reason, and I recommend checking out this split if you haven't heard any of these bands before, or if you wish to support truly underground efforts at assembling solid, bankable releases: Dark Horizon and Realms of Darkness are both admirable grassroots organizations and should be given a helping hand as the American scene begins to mature.

UA

Erebus Magazine
http://erebuszine.blogspot.com

A bit inconsistent but still solid - 73%

Noktorn, March 21st, 2010

This is one of those releases I can call genuinely underground; a thousand copies, no promotion, four unknown bands. It's the very definition of extreme metal. Let's explore.

Allfather:

I like these guys; Allfather's brand of black metal has more than a pinch of grind influence to it, and that's not to say it's just very blast and tremolo-heavy. Some of the riffs seem to hearken directly to older Napalm Death or Nasum, though the rest of the material is fairly heavily linked to your basic Swedish and Norwegian ideas. Despite how derivative much of this is, it's exciting music due to its pretty devastating speed, enthusiasm, and variation; Allfather packs more into a two minute song than most bands do in ten, and use the abrupt, grinding tempo and rhythm changes to great effect. This is sudden and brutally shifting music with little in the way of transitions between riffs or ideas, but the brevity and intensity of these tracks makes it to the benefit rather than detriment of the band's overall sound. Allfather may be a tad one-dimensional, but they're excellent with that dimension.

Nebron:

Nebron plays a style of mid-to-fast-paced semi-symphonic black metal (the synths are fairly subdued, all things considered) that seems to take after early Dimmu Borgir more than anything. It's certainly not wildly original but it's reasonably well-composed, and the two tracks that make up the band's side manage to stay interesting through their respective running times. 'At The Pagan Aldumus Night' is the better of the two, with a certain inherent sense of early Norwegian symphonic black metal in the way the riffs and keys interact; a poppier, less neoclassical 'In The Nightside Eclipse' comes to mind. More could be done with these tracks; they're rather still as far as tempo and rhythm goes, to the point where it's hard to tell when the riffs change sometimes, but the melodies are fairly infectious and overall it's a professional and listenable piece of work, if not necessarily anything to write home about.

Hordes Of The Lunar Eclipse:

This band employs a fairly conventional style of uptempo black metal with riffing generally derived from Norwegian standbys such as Darkthrone with just a hint of French dissonance; it's perhaps the most oldschool sounding band on the disc, with a Celtic Frost stomp to the rhythms and a primitive sense of songwriting heavily derived from the Bathory mold of alternating riffs with little variation or texture. It's, unfortunately, not very exciting music; the riffs tend to repeat too long and aren't very interesting to begin with. The band attempts to spice up some of the more droning riffs with abstract lead guitar work, which is an admirable goal, but rarely achieves anything more than a layer of noise. It's listenable but hardly interesting, making this probably the weakest side of 'Lead Us Into War And Final Glory'.

Gnostic:

The primary influence here seems far and away to be Bloodstorm; this band plays a similar brand of chaotic, thrashing black metal with numerous vocal layers and an overall sense of decaying cosmic entropy. This is perhaps a little more purely black metal than Bloodstorm is, with a greater sense of Darkthrone-derived riffing circa 'Under A Funeral Moon', though clearly more US-sounding than that band ever was. Gnostic are good; they have more coherency and memorability than Bloodstorm and a fairly natural sense of thrashy songwriting that makes this band's side a fun listen. A bit more variation could be used, as these tracks do tend to drone on a bit with too few riffs, but overall the articulate and well-paced drumming and Ezurate-style vocals help smooth over some of the inconsistencies in the guitars.

Conclusion:

The first and last sides of this release are clearly stronger than the center, but anyone who wants to hear what black metal sounded like at the beginning of the millennium would be advised to pick it up; this is a good cross-section of what the underground scene was doing at the time and there's enough good material on here to make it a worthwhile investment. This is the only material I have from any of the featured bands, which makes me really want to track down each group's respective full-lengths in order to evaluate them a bit more fully. This is by no means perfect but is a good release from the low-budget world of underground black metal.

Allfather - Lead Us Into War and Final Glory - 80%

vorfeed, May 11th, 2004

Artist: Allfather/Nebron/Hordes of the Lunar Eclipse/Gnostic
Album Title: Lead us Into War and Final Glory
Label: Dark Horizon/Realms of Darkness

This is a four-way split CD, so I'll review each band's portion individually. Allfather is from Canada, Nebron is from Hungary, Hordes of the Lunar Eclipse are American, and Gnostic is also American.

A sparse intro of marching sounds fades into Allfather's brand of brutal, Angelcorpse style death/black metal. The pace is quite fast, but the guitar and drums keep up well enough to keep the overall sound from becoming messy. In fact, these guys seem quite technical, a real compliment to the raging, blast-beat songwriting. Vocals are a vicious scream/snarl, and move at the same relentless pace as the music. I'd like to see a full-length album from this band. Allfather is by far the best band on this split.

Next up is Nebron, a rather raw symphonic black metal band. They've only got two songs on the split, but they're both quite long. For me, the true test of such "epic" music is whether or not the songs get boring by the time you're finished. In this case, Nebron managed to hold my interest quite well. The synths conjure up a feeling similar to Abigor's "Nachthymnen" era, and they work very well with the wall-of-sound guitar work and competent drumming. In light of the excellent work from the other three bands, these guys are my least favorite from this split, but still strongly recommended.

The third band on the split is Hordes of the Lunar Eclipse. They play cold black metal with a Burzum-eqsue edge. The guitars here are tuned high, giving them a razor-sharp sound. These songs are quite fast, for the most part, and the drumming is more than up to the task. The vocals are completely sick; they sound as if some effects have been applied to them, but the final effect is great. This is probably my second favorite band from this split. Even though I like Allfather better, overall, "Infinite Frozen Bliss" is the best song on this release, quite cold and triumphant.

The fourth band is Gnostic, playing raw, old-school black metal. Songs are short and mostly mid to fast paced, which befits Gnostic's low-fi, defiantly untechnical approach. The vocals are shouted, and along with the grinding guitar, they create a very harsh atmosphere. Gnostic's songwriting is simple, yet brutal, squarely in the tradition of other American bands like Profanatica and Burning Winds. Even so, Gnostic manages to craft their own sound. These guys are definitely a quality band from America, and I'll await their future full-length releases.

All in all, an excellent split release. This is highly recommended, one of the few splits I've heard that delivers consistent levels of high-quality black metal.

Standout tracks: Allfather: "Tyranny, Revenge!" Nebron: "At the Pagan Aldumnas Night" Hordes: "Infinite Frozen Bliss" Gnostic: "Infernal Heretic Allegiance"

Review by Vorfeed: http://www.vorfeed.net