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Released on September 6, 2014 via Avantgarde Music
The black metal world, once you’ve set foot into it will never cease to amaze with the rich and varied abundance of bands and styles. Bread and butter metal fans, or more importantly the trendy ‘Grand Theft Guitar Hero’ causal poser demographic often sneer at the scene; deeming it to be a load of shouty incoherent noise. Not forgetting bringing into question the dubious actions of the band members and beliefs. Usually, quoting the antics of a certain Norwegian church burning fellow whose name isn’t important in the context of this review. Personally, those people need to open their minds to what is a rich and varied scene, which shows no sign of disappearing any time soon. Like it or not, black metal is here to say.
Which brings me neatly onto Darkspace, a band that deserves a lot more recognition. With music, you get to a certain point where you’ve heard so much that you can spot the influences from other bands; the most obvious being early Bathory (take a bow, Emperor). However, when a friend introduced me to Darkspace a few years ago, I honestly hadn’t heard anything vaguely similar before, and I have been hooked ever since. I was getting a bit concerned about Wroth/Wintherr (aka Tobias Möckl) and company as several years had passed since Dark Space III was released. However, Darkspace have made a reappearance from nowhere with their latest release entitled Dark Space III I (which for ease of reading I shall refer to as IV).
Darkspace are a band hailing from Switzerland, which initially started off a spin off from Paysage d’Hiver – a one man black metal band started by Wintherr. They throw away the rules that dictate that songs must have names, simply referring to the songs as ‘Dark 4.18’, ‘Dark 4.19’ and ‘Dark 4.20’ (following on in the order from the previous albums). Initially, Dark Space I and II sounded like a space themed Paysage d’Hiver, until their sound became much more distinct and melodious by the time III was released. Album covers and liner notes are minimal at best, with an ambiguous picture that involves the black voids of space and a minimal track listing on the back. Darkspace use this as a simplistic creative guide, to sow the seeds of thought for the listener’s own interpretation. Lyrics are immaterial, as the vocals (if they can be called such, to some people) are merely one of the instruments in the mix. On paper, this sounds pretentious to the extreme – but Tangerine Dream’s earlier works worked of a similar principle which was effective enough for them. Personally, I would call it ‘Cenobite Black Metal’ – especially when you take into consideration the space themes and the dramatic persona’s that Worth, Zhaaral and Zorg portray. You could vividly imagine them coming from some weird alternate universe to enslave the listener.
Initially, Darkspace come across as a frenetic wall of alien noise due to the overall breakneck pace. Upon further listens, each part of the musical process can be followed; with distinct guitar riff patterns, samples and chord changes emerging which became clearer to follow with each album. In the case of IV, Darkspace have taken noticeable leaps forward in the whole musical structure that has clearly been excellently crafted and honed, with improved production. When compared to previous albums, it has the same pattern of sonic bleakness but is made in a more accessible and easier to follow manner. To long term Darkspace fans, it may sound as if I’m implying that this album has become weaker. But, I see it as considerable improvements and the album is equally as good, if not better than the albums before it.
‘4.18’ starts with an eerie burbling and distant industrial machine sample and drum machine that is distinctly EBM sounding, before heading into supercharged chugging riffs and a cyclic guitar solo soaring about the mix in a hypnotic manner. It’s a brilliant start to the album that reminds me very much of ‘3.16’ in style, but more melodic and irresistibly catchy. Brief breaks occur, but then the whole thing decides to tear your head off with inhuman screams, breaking into spiralling guitar solos and soaring icy black guitar passages; eventually ending in swirl of dying feedback chords and industrial noise.
‘4.19’ continues with icy, singular chiming keyboard notes and ripples with clanking and machine noise samples conjuring an atmosphere of a dark and chilling spacial void. The patterns continue underneath the furious riffage, which then gives way to quieter passages and at one section heavy breathing; giving a feeling of dread and agoraphobia. ‘4.20’ finishes with curious voice samples and more machine clunking and drones, in a manner of a ship jettisoning off and causing a trail of destruction as it leaves; returning back to a full on guitar assault and screamed vocals. A driving death metal inspired anthemic chug comes in 6 minutes into the track, before speeding to an almost hard to follow blur, taking changes in pace as it goes. The track finally concludes with breathing, and the following narration: “Found the hatch…….I’ve got the airlock display panel here…..There’s no lights, no power…..We’re going in” and closing dramatically.
To conclude, Darkspace is not exactly a band that has tunes which make you want to form a one man circle pit in your living room or stage dive from your sofa. This does not imply that the album isn’t heavy enough, far from it. It’s full of charging and catchy riffs that instantly stay planted in your head, like a burrowing insectoid life form. It’s best enjoyed in a manner similar to Tangerine Dream, to listen and absorb it – while the album literally sucks you in and tears you apart. It’s also worth mentioning that this album is available in .flac format from Bandcamp, which made the album far more enjoyable when piped through a decent hi-fi system.
The CD – You opened it, we came. Explorers, in the further regions of experience. ‘Cenobite Black Metal’ indeed.
