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Cold and grim - 90%

Neal, June 10th, 2011

Maybe it's just because this winter is really getting to me and putting me in a near-constant dark mood, but I have been listening to this album a lot in the last couple weeks. As I get older, I find myself hardly ever listening to the black metal that I used to and I can't think of any new bands off the top of my head that fall into the black metal category that have really held my attention. Maybe Krallice. These guys are different. There seems to be a more genuine sense of darkness and chaos to this record.

I'm not going to give a song by song rundown of the whole record. The songs have a pretty consistent feel to them, but at the same time the material is more varied than most bands dabbling in black metal would dare to write. There are plenty of parts with the Darkthrone-esque Satan-blast drumming; there's some mid-tempo rocking that evokes old Celtic Frost attitude and almost reminds me of some of High on Fire's faster stuff; and there are crushingly slow doom parts with riffs Neurosis wish they wrote. While comparisons can be made with these other bands, this record never sounds like a lame rip-off of those bands. At the same time, while the material is diverse, it doesn't sound like a thrown-together conglomeration of different styles. Everything fits together as a cohesive whole. In fact, I think this album is best appreciated when listened to front-to-back instead of skipping ahead to find that one kick-ass track.

As for the individual instruments, everything sounds pretty killer. The guitar tone is thick and heavy and compliments the riffs, both fast and slow, perfectly. Fast picking is distinguishable and slow parts are nice and meaty. There are some higher, spacey sounding lead guitar parts and some solos too that sound neither pretentiously technical nor amateurish. They actually fit the songs. Vocals are distorted and somewhat distant sounding, but some of the lyrics are actually decipherable, which is nice. Drums thunder away without getting in the way or being buried by the wall of guitars and have a nice warmth to their tone (even though the music is completely frostbitten). Bass guitar isn't very present, but there are a couple parts where it emerges and makes an important contribution to the sound. Overall, there is a dark haze to the production, like looking at something through a blizzard, but it's not muddy and I wouldn't consider it lo-fi at all. I don't know if this album was actually made on analog equipment or digital, but it sounds analog - a nice contrast to the current standard of overly slick digital recording.

This is a strong release, and I recommend it to anyone into dark sounding metal. I'm gonna have to check out their previous releases now and hopefully we hear more from this band.

I'll have that cup of hot chocolate now - 67%

autothrall, May 5th, 2010

The Howling Wind is a very interesting cross-country collaboration by two members having served time in other US cult metal acts: Ryan Lipynsky, aka Killusion was a member of the seminal, deep NY black metal act Thralldom, but is better known as the vocalist and guitarist for Unearthly Trance. Parasitus Nex also works with Oregon death fiends Splatterhouse and The Warwolves as their vocalist, but plays the drums here. The style these two conjure on this sophomore outing Into the Cryosphere is one of relative novelty: black metal infused with elements of doom and sludge metal, without any loss to the gnarled, bitter core.

The band is clearly into both brutality and isolation, as the bleak wintry scape of the cover mountain infers to the viewer. The music is a pretty pure reflection of this, with a resonant, cavernous feel to it that feels as if it being shouted at the listener from the depths of some rime-touched valley. The hostility and density of the guitar tones are to be admired, especially when they pick up into a more punkish/black/death onslaught like "Ice Cracking in the Abyss" where the vocals really shine due to their frigid atrophy. The beats range from a competent blasting to a slower, doomed crawl like "Will is the Only Fire Under an Avalanche". But despite the range and reach, and the killer, meaty tones the band evokes, I actually didn't find the material all that interesting until the two final songs. "Impossible Eternity" is a woeful dirge of monumental, crushing force, like a glacier slowly moving over your legs while you remain attached to them, agape in horror and unable to move until an EMT arrives with a bone saw. Loved the almost psychedelic desolation this song creates. The closer "A Dead Galaxy Mirrored in an Icy Mirage" is pretty quick, just over 2 minutes in length, but it too marries an oppressive atmosphere to a stream of dense, post-core black hooks that reel in the listener, especially when it picks up in speed to a schizophrenic blasting.

The Howling Wind is basically the perfect metal soundtrack to a movie like The Thing, where there is just no fucking hope and you should expect no quarter from the harshness of nature and evolution. While I enjoyed the atmosphere of almost the entire album, I simply didn't care for most of the riffs, with a few exceptions like the bruising "Teeth of Frost" or the others I mentioned previously. I can certainly see fans of such wide ranging artists as Tombs or Soilent Green snatching this album up, but I couldn't make a connection with half the songs. At any rate, Into the Cryosphere does seem like a pair of veterans feeling out a very specific vision, and the music reflects this. I can only hope the band will explore their more interesting, perturbing, discordant elements in the future, for an even colder sound, and lay off some of the more basal, uninteresting black/sludge riffs that litter the record.

Highlights: Teeth of Frost, Impossible Eternity, A Dead Galaxy Mirrored in An Icy Mirage

-autothrall
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