Stielas Storhett - Expulsè
Code666 Records
Black Metal/Rock
7 songs (49:51)
Release year: 2011
Code666 Records
Reviewed by Charles
Something about a one-man depressive black metal project from Northernmost Russia suggests “no fun”, particularly when the first few seconds of the record are taken up by a woman screaming in agony. But what do you know? This actually is kind of fun. Whilst it embraces various frostbitten tropes, Stielas Storhett’s latest decisively and effectively incorporates surprisingly accessible rock influences to produce an album imbued deeply with melody, to the extent that the black metal almost feels like it’s getting in the way. In consequence, Expulsè is a mysterious album, neither fish nor fowl, which the right listener might well get a lot of enjoyment from.

The basic tone here- of the instruments and of the vocals- sits firmly in the hissed-up mould of bands like Sombres Forets or Gris. That crackling, blurry take on depressive black metal rather than the (comparatively) healthy rush of, say Nyktalgia. But any likeness to that icy Canadian scene is instantly chased away by Expulsè’s sheer tunefulness and its rock sensibility. Sometimes, the engaging, wistful melodic hooks remind me somehow of Anathema, though the blackened delivery makes that an untenable comparison in any sustained sense. Still, the keening dual lead lines of the likes of Buried By Storm and Eternal Darkness have the same kind of downbeat-yet-anthemic quality as, say, Judgement. Two Lifeless Months features a pounding rock backbeat with a diminished-chord tonality which at times is even reminiscent of Megadeth’s Hangar 18.

Generally, records like this are, I guess, the product of various currents in European extreme metal. At times, in its juxtaposition of a rasping black metal delivery and hooky lead lines it reminds me of Drudkh’s Blood in Our Wells, but then at other points the striding indie-rock rhythms could also be drawn from that band’s most recent release, Handful of Stars (not to mention bands like Todtgelichter or Amesouers). There are even moments- like short interlude Hush-A-Bye, where Opeth’s popularisation of Pink Floyd-inspired jamming is immediately apparent. The latter in particular is a deeply effective track, which utilises its short running time to build from blissful ripples of clear guitar to a climactic rush of fuzzy vitriol. Oh, and all this without mentioning the title track’s use of saxophone- possibly an homage to Carpathian Forest’s Cold Murderous Music.

So, what then to make of it? I don’t necessarily see Expulse staying with me beyond getting this review up, because ultimately it feels like kind of an awkward record. The one-man black metal format doesn’t seem suited to delivering the kind of compositions found in Stielas Storhett’s music, and there isn’t really enough sour-faced grimness to work properly as DSBM. That said, I can’t help but feel that there are people out there who will swoon for this. The graceful, melancholic thud of closer Angel of Death, for example, could potentially enrapture ardent admirers of Gris, before winding down into a truly sinister, woodwind-inflected close. Therefore, I recommend you try this and decide for yourself.

Killing Songs :
Buried by Storm and Eternal Darkness, Angel of Death
Charles quoted 75 / 100
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