Mysterious atmospheric Black Metal from Brazil.
I have to admit that, although I’m great admirer of Brazilian metal and most closely Brazilian Black Metal (I won’t cite any bands here in order to not commit an injustice) I have to admit that the production has been subpar in this decade. As I said before of course there are exceptions, but in a world where the music is free, who cares?
It seems that one guy cares: Iser, from one of my fave Brazilian bands (Torqverem) took the scene by assault with this release. It’s melancholic but is not DSBM. It’s beautifully mid-tempo but is not doom. It’s true but it’s not Raw Black Metal.
What I’m trying to say is that this man created something that really, (I mean REALLY) can stand before the international releases because this thing is original as hell. The production, the mastering, the instrumentation, the vocals, were all made by Iser himself (safe some special participations) but heck dude, what a hell of an excellent album.
First song named Aspida is an ambient intro, just to open the path to the uber wistful title track that has keyboards and a snail pace music, miserable and beautiful at the same time.
As the album progresses the other track with harsh vocals called Hanpa Winds showcases a kind of Hellenic Black Metal energy (no I’m not trippin’) akin to Rotting Christ and Varathron. This sole information is sufficed for you to run and get your copy, but the creativity here runs rampant and it seems to have no end.
One thing is that the phrases are extremely long, but strangely they are not boring, they are hypnotic instead. One can touch the parallel dimension that this album resides.
Things start to grow seriously better with the track In Solitude that gives me goosebumps. There is a “pagan” intro (prolly played by Holykran – an alumni from Black War and Iron Woods) and the machine drum goes along with an esoteric riff that transforms itself in an acoustic guitar, just to get back and show spoken and abstruse vocalizations that permeates the whole song. This one is totally inspired and intriguing one. Of course, it’s not just because the modus operandi of the track throws the listener to a dismal reality that the fast trad black metal drums are not allowed here. They appear and they complete the puzzle.
The Inner Prison has clean vocals (forget shoegaze, morons!) that are very Bathory-esque and over again, hypnotic, making it a perfect Black Metal song to listen to in an extreme cold night. The harsh vocals are divided here and fast drums appear over again, but again, it’s important to say that even though the phrases are repetitive the songs have NO similarities between themselves because of all the inspiration involved while developing this album.
Ishtar, is a strange and serpentine tune, difficult to get with only some spins, so I recommend to the owners to put this one on the repeat. The fact is that the metric and the phrases of this song are short in comparison to other tracks. But as the song approaches its final hour, a beguiling and artful syncopated drumming goes on a ceaseless mode that puts the listener in a dangerous trance. Perfect.
The penultimate track is Burning Times from the classic Brazilian band Iron Woods so that’s not much to say. I add that the middle session with the acoustic guitar and the sound of burning wood in the background made my day.
And the grand finale is a cover of Bathory , A Fine Day to Die. Man, I really don’t care about covers, but this one is IDENTICAL to original. Why he made this magic is anyone’s guess. The bass is played by Mielikki, ex-Brutal Morticinio.
Lalssu’s The Death of Star is one of the best surprises of the year so far! An extraordinary opvs from the summerlands that will enchant the winterlands soon. It’s really THAT good. It’s really THAT true. Only for underground cultists of the lost black metal art. Admirable.
The death of A Star is out now on Black Empire Productions.
(Daniel “Roderick” Death)