Black Coffin Rites

The second release from Norway's Nettlecarrier appears to be the most essential so far. The whole musical outcome reflects the members' experience and devotion to black metal (e.g. drummer Dirge Rep has contributed to some classic releases of the Norwegian scene).

A side reason I'm writing this review is to protest somehow against the new black metal order. An increasing number of foreign elements (musically) have entered the black metal scene lately and slowly yet steadily they have been altering the true meaning of black metal. Nevertheless, B.C.R. resists to this virus-like invasion.

Musically, there's nothing new here actually. Every single second of B.C.R. sounds like Norwegian black metal. Guitars follow the usual tremolo riff technique, sometimes by using multi-string chords and some other through monophonic trem lines. There are some lead guitar themes here and there in order to break the monotony, which offer some dark colouring in the whole aesthetics. The bass lines faithfully follow this pattern, although there are times that bass gets the exclusive role of rhythmic support (when rhythm guitars give place to some doom, low string themes). There's a rhythmical variety from slow parts to up-beat tempo and blast beats (which constitute the rhythmical basis). The sound is generally dusty and purposely under-produced, which is a good thing for every narrow-minded black metal fan like the reviewer. There seems to be an echo effect on vocals which increases the whole grim atmosphere (deriving directly from the '90s era).

The song writing and composition sections are remarkable and reach higher levels on the second half of "The Bones and Flesh of Hanged Men", when a low spirited theme slowly enters, along with some discreet keys, and smoothly rises above everything to finally blast away to a panoramic apocalypse of passionate black metal orgasm. I mean, that should be the definition of black metal! There are times that the album brings to mind some glorious moments of Darkthrone and Gorgoroth. More obviously though, it refers to Djevel.

In my opinion, B.C.R. is almost flawless. It doesn't claim any medal of authenticity, although I strongly believe that there are some classic and memorable moments in here. It is a "standard, second wave of black metal" release and for those who have experienced the quintessence of black metal back in the 1990s, this is more than enough. Unfortunately we live in the glorious times of massive releases, bearing the tag of black metal along with tags such as "post", "pre", "beyond" or whatever the hell they claim to be. Evolution has already taken the next step in Black Metal  and it’s a step away from originality and apparently closer to ignorance.

Such releases as Black Coffin Rites should be more honoured and appreciated because they achieve something more than just entertaining our ears: they keep the black metal flame burning.