Artist: Carpathian Forest
Label: Season of Mist
Release Date: 3/17/03
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Title: Defending the Throne of Evil Artist: Carpathian Forest Label: Season of Mist Release Date: 3/17/03 |
Judgment Committee Reviews | Rating |
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Abyss's Review:
I've got to be honest here. I first heard this band a long time ago and completely disregarded them as a band of untalented, tedious trend jumpers. I don't really remember what they sounded like, but I remember dismissing them right away. So when I was given this assignment I was set to trash it and tell you to pick up some more worthwhile stuff like Nokturnal Mortem or Akercocke. If I had taken myself less seriously, I might have done just that, because this record never really reached out and grabbed me. If you put it on in the background, you might very well just think it some generic Norwegian Black Metal.
"The band is not a one trick pony. Each song displays a wide spectrum of sounds, effects and themes." While that was my first impression, I found that the more attention I gave to this record, the more enjoyment I got out of it. The album is way underproduced, but this route proves to be effective. By doing this the band allows the blast beat rhythms and tremolo picked guitars to devolve into white noise in parts, resulting in the sonic equivalent of a blizzard. The band is not a one trick pony, however. Each song displays a wide spectrum of sounds, effects and themes. The music is at times brutal, at times atmospheric, and always blasphemous. I love the guitar sounds that are employed, and the attention to riff is exquisite. Some of the riffs are downright catchy, even while avoiding the accessibility of bands like Cradle of Filth and Old Man's Child.
The vocals are just dry-heaved up like distasteful bile, and set the mood quite well. Keyboards are layered and ever present, but never take over the song. They actually introduce a pleasant thickness to the mix. The only real problem I have with this sound is that the guitars can get lost under the rhythm section, especially during the faster parts. Basically, they sometimes get lost in the wall of white noise, rather than contribute to it.
"The vocals are just dry-heaved up like distasteful bile, and set the mood quite well." In the end, this is a great album. It has the knack for experiment and structure that fans of old Enslaved can appreciate, and combines it with the powerful, understated, dirty sound of Megiddo, resulting in quite the masterpiece. Fans of black metal should definitely give this album ample chance before disregarding it. One word review: Caustic.
Death's Review:
"True Black, True Darkness, Pure Cult," screamed the label press. That, song titles like "Put to Sleep Like a Sick Animal!" and "Christian Incoherent Drivel," and the words "True Norwegian Necro Black Metal" written in blue 70's-style disco font on the back cover of the promo CD were enough to get my attention. Then I played the CD. The Carparthian Forest sound is raw and brutal without being overly simplistic, sophisticated and yet horrifically unrefined, all at the same time. There is atmosphere, sure, but more importantly, there is sufficient metal to rip your face off whether or not you appreciate the mood and or the surroundings.
"The Carparthian Forest sound is raw and brutal without being overly simplistic, sophisticated and yet horrifically unrefined, all at the same time."
The debut Carpathian Forest album for Season of Mist, Defending the Throne of Evil, while not completely as barren and atonal as perhaps some extremists might prefer, should appeal to those among you with the blackest of tastes and a further taste for a mild degree of artistic expression. This band looks "true" on paper: they are from Norway, have a history that dates back to 1990 (the year R. Nattefrost (aka Nosferatu) and J. Nordavind (aka Lord Karnstien) first formed their so-called "grim alliance"), play fast and hate Christ. This doesn't tell the whole story. Carpathian Forest can play their instruments too, and do so here in service of some kick ass metal. Guitarist Tchort (Emperor, Green Carnation) brings musical proficiency to every band he is involved with, and there is no difference in the level of professionalism that is displayed here. But don't get me wrong, this is some pretty raw, blistering material, and is produced in a suitable yet highly listenable fashion. Keys and choruses of female vocals are mixed in there too. Tight double-bass drumming and angular minor and atonal riffing patterns with dual layered death and black vocals. Often passionately tortured vocals.
"This is some pretty raw, blistering material, and is produced in a suitable yet highly listenable fashion." Talent in service of the dark arts.
Hel's Review:
Carpathian Forest are, as declared on the back of this record in bold, blue lettering, "True Norwegian Necro Black Metal." I could not help but smile when I read that, and now, while typing it out for you, I find myself smiling again. Why, you ask? Do I think there's something funny about it? No, as a matter of fact, I am merely pleased by the sentiment. I love the underground, and it really does warm the area where my heart should be when such statements in defiance of the mainstream are placed right on the outside of the record for all to see. Ok, so I'm embellishing a bit for the sake of storytelling. It's boldly emblazoned on the back of the promo sleeve - I'm making the part about the album cover up, but still…
"Combining both traditional elements of the genre with newer innovations, Carpathian Forest has provided us with a uniquely complete record."
"At the end of my time with this record, I find myself doing something that I rarely encounter with black metal releases - seriously considering giving it a five-skull ranking." Fine, enough about my enjoyment of Carpathian's Forest self-categorization, we'll talk about the album now. Defending the Throne of Evil is an artful display of black metal mastery. Combining both traditional elements of the genre with newer innovations, Carpathian Forest has provided us with a uniquely complete record. The production manages to be clear, while still maintaining some of the dirtier elements traditionally associated with black metal production. Likewise, the songs have retained traditional sensibilities while the songwriting itself displays a depth and breadth that is not often found in dogmatic black metal releases today.
I've really enjoyed my time with this album, and in a perverse way I was happy when Abyss stepped out of the rotation and accidentally did Marduk a week early last time. That meant I was able to continue listening to this record for another week, and provides me with ammunition to torture him with for months to come. At the end of my time with this record, I find myself doing something that I rarely encounter with black metal releases - seriously considering giving it a five-skull ranking. There are enough death metal sensibilities contained on this record to almost push me over the edge. But instead, I'll do something else I rarely do - wish that ½ skulls were an option. I strongly suggest all metal faithful give this album a serious spin.
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