Featuring previously unreleased material from four Chilean bands, the bulk of the material on ‘4Ways To Die’ would possibly seem fairly ordinary if approached individually. However, by taking bands that each approach a doom and blackened doom riffs in a different ways and placing their DIY works together, for doom metal buffs, this compilation could be the mother of all split releases.
It took New York’s sludge metal heroes False Gods a full two years to release a follow up for their ‘Reports From Oblivion’ EP. In that time, fans probably suspected the band to re-emerge, all guns blazing with a devastatingly heavy full length album…but it wasn’t to be. It may still verge upon being devastatingly heavy in a few places, but their 2019 EP ‘The Serpent & The Ladder’ presents just two new songs.
Whether this is an EP – as advertised – or a single that unleashes two lengthy workouts is something very much up for debate. The band’s commitment to a riff, on the other hand goes without question. A concept piece, of sorts, the two numbers concern both of the titular objects, but a gruff vocal and very intense sound means that the finer points of the narrative are lost behind some weighty riffs. Let’s be fair, though, if you’re drawn to a band like False Gods for anything other than those riffs, you’ve sort of missed the point.
Ewigkeit’s eighth album ‘DISclose’ drew heavily on themes of other worlds and UF-ology. Quite removed from their black metal origins, its seven songs straddled a wide range of heavy influences, taking in some old school rock and a fair amount of melodic and symphonic black metal, as well as a touch of drone and a little alternative along the way. It was a hugely accessible record considering multi-instrumentalist James Fogarty had first come to prominence as a member of In The Woods and provided you could make it past a semi-abrasive vocal, it was an album with a lot to give.
Beyond calling it “art metal noise”, the music of Plecto Aliquem Capite is hard to define. It’s been called “next level black metal”, but it’s often hard to hear how such a claim was made. The four tracks on their 2016 EP ‘The End’ have a few black metal traits in some of the riffs, but that’s all. ‘The End’ presents the worst excesses of art metal, of avant garde clanking and of general ugliness. It’s possible to suggest that even those who like a musical challenge will be affronted by most of what’s being offered here.
In Tenebriz is one of Russia’s more adventurous extreme metal bands. Rather than just settle for plain old black or death metal, their previous releases have fused black metal elements with bits of drone rock and post-metal, lending an almost cinematic feel to their work. Their 2018 release ‘Winternight Poetry’ is arguably their most adventurous, presenting a seven chapter half hour suite telling the story of Kai, whom upon visiting the kingdom of the Snow Queen, is taken prisoner and forever trapped in a world of permafrost. You wouldn’t know that unless you were told, since – as always with things from a black/extreme metal perspective – the lyrics are hard to grasp without the aid of the written word. For most listeners, it’ll be down to the music to do the talking…and luckily, this release features some great sounds and arrangements, befitting of such a brave piece of conceptual and progressive metal.