Distant in Solitary Night

Hoefully you agree that great black metal artworks can directly put you in the right mood. In my humble opinion, Thy Primordial’s cover for “The Heresy of an Age of Reason” is absolutely outstanding, the EP of Serbia's CMPT looks truly good and the cover of “Distant in Solitary Night” also is also among the artworks I really appreciate. It has style, it does not glorify violence, but it spreads a very sinister aura. Death comes to visit. Too bad that the more important part. the musical content, does not really convince.

A full-length is rather a marathon run than a 100 meter race. Thus, it is a good thing that Akhenaten starts with the cold, fast and raw “The Winds Stands Silent”. Believe me, the wind is the only one who stands silent here. But it quickly becomes apparent that the artist is prone to frequent repetitions. Of course, the element of repetition is a kind of corporate principle here, but the uniform guitar lines are always in danger to get boring. This is in particular true in view of the fact that Akhenaten does not have a talent to write compact song. Some of them, for example the ambient “The Clear Moon, and the Glory of the Darkness” suffer from their much too opulent format. It takes some patience to listen to its entire seven minutes. Yes, it creates an uncomfortable atmosphere, but I prefer songs (or should I say sound collages) of this kind as closer... but I did not mean that I need another pretty boring, overlong keyboard track on the final position. More than eleven minutes without much value… I want to listen to music and not a narration underlaid with synthetic sounds. However, “regular” tracks are also modelled a little too broad. “Where The Winter Beats Incessant” clocks in at ten and a half minutes and offers some light, but also shades of grey (but not 50 of them, bad luck, sadists).

Nevertheless, as soon as Akhenaten gets wild again, he combines his mostly thrilling guitar work with an effervescent black metal attitude which has found some of its inspiration in the most famous early Dark Throne works. “At the Bliss of the Eternal Valleys of Hate” reflects his boisterous vehemence and makes clear that he is familiar with the real spirit of black metal. The solid production shows its frosty side during the fast-paced attacks and so it delivers the right frame for these outbursts of ferocious art. Given this situation, it is not easy to do justice to the album. I cannot ignore 18 minutes of vapid non-atrocity, but the remaining tracks provide even in view of their overlength mostly fine stuff. Anyway, the artwork is the best component of “Distant in Solitary Night” and that’s somehow not the way it should be.

Judas Iscariot's 1998 effort "Distant in Solitary Night" has an authentic rawness in its sound that makes one feel distant in a solitary night. Akhenaten acts again as a one-man band, producing US black metal that has the raw authenticity to pass off as true Norwegian metal. A Burzum-like presence is felt on the entirety of the album, and in the few synth parts especially.

"The Winds Stand Silent" starts it off with an unusually energetic opening for a black metal record. Akhenaten's vocals sound like a higher-pitched Fenriz (from Darkthrone), and his lyrics - in the usual style of black metal - cover topics such as winter, fantasy, castles, and last but not least, Anti-Christianity.

Some other notable tracks here include "The Clear Moon, and the Glory of Darkness" (a percussion-less synth drone with a mystic sounding guitar riff), "The Black Clouds Roll Under the Parapet of the Sky" (one of the first black metal songs I ever heard), and "Portions of Eternity Too Great for the Eye of Man" (a cryptic good-and-evil-themed poem set to a slow bass riff and another mystic synth drone - much in the style of Burzum).

Akhenaten sounds impeccable playing all the instruments here, but in places loses his drum beat. These may or may not be noticeable (Abbath from Immortal has had the same drum screw-ups playing at such furious tempos), but altogether he sounds great. Also, the album cover is a true highlight. A portrait of two shadowed figures on a forest path. Along with black and white band member photos, this is typical for black metal.

A raw US black metal classic.
9 out of 10.

This is some of the best work of Judas Iscariot. I will not write at length on this one, for this is something to be experienced rather than read about, as is the case with most black metal. when writing about any real black metal, you will always encounter the same words, but their meaning is so diverse sonically that there is little point to giving any black metal record a ‘real’ review.

Such is also the case for Judas Iscariot. I could tell you how the record is under produced, but it fits the genre. I could even tell you about the length of the songs and the fact that they are monotonous, but if you know JI, you know this already. This is some of his early work, with tighter drums, however then on most of his later work, which seems a little bit bizarre for a one man band. And thankfully there is only one track with synth, because synth as we all know kills the true spirit of black metal, with only very few, very notable exceptions. His vocals are very hateful on this one, does not have that kind of deeper undertone that his later stuff has, this is all throat and all crow vocals. Raspy, high pitched, etc.

Why I want to write about this is because this is one of the few times a black metal band that is not a Nazi band will have manifestations of their philosophy in their work. Myself being a philosophy nerd, and especially very big on Nietzsche, it seemed nice to me that he would do such a thing, until I realized that the parts spoken were indeed a citation from the infamous ‘Marriage Of Heaven And Hell’ by none other than William Blake. This upsets me, for I never thought Blake’s philosophy to be very good, or worthwhile, in fact he is somewhat of a proto-hippie. Although this part, when put to this mood, does sound like a satanic invocation, and is in fact very much telling of the nature of the luciferian creed to which Akhenaten professes himself to be part of. So indeed, this is a bit of nihilism, but if you were to read the rest of the book, you would not be so intrigued. This is a good example of why I like this band, it is a showcase of this one man’s hateful legacy of genius. And as such this album stands out. Also, ‘The Black Clouds Roll Under The Parapet Of The Sky’ is one of my favorite JI songs, so there you have it. Philosophy+ awesome songs= good black metal album.

I picked this album, "Distant in Solitary Night", up long ago through distros and never got around to it until recently. I've heard bits and pieces of Judas Iscariot and I must say, a very talented one. Definitely one of the better U.S.B.M. projects. The vocals, I will say, are very good throughout the entire CD. They are not very aggressive but very well done. I can actually make out some of the lyrical content.

(01) "The Wind Stands Silent" was actually the first black metal song from Judas Iscariot I had ever heard. The rhythms are pretty basic but very evil sounding. Drums sound really good behind the guitar work, with blasts. The cover of the release works quite well when you hear a song like this. If you listen closely enough, you can even hear Akhenaten mess up once or twice when repeating the riff. Nevertheless, it is a very good song.

(02) "Where the Winter Beats Incessant" starts out with some good blackened string riffs with a slow depressing drum behind it. I can envision our sun being pierced and dying out in the midst of death's winter blizzard. The song takes a turn however with this mediocre lead that drags on for a little bit longer than it should. Then back to the opening strings. The song ends with some good chords being strummed. Good feel.

(03) "The Black Clouds Roll Under the Parapet of the Sky" starts out with a very stereotypical old fashioned black metal riff. It's the kind of riff I can honestly say is not very appealing to me. The riff which follows however is a pretty good transition. Pretty verse/chorus until it gets a lead, which reminds me a lot of older Satyricon leads. I always liked those riffs. Descent song.

(04) "The Clear Moon, and the Glory of the Darkness" starts out really good with keys and lead guitar. The song is basically an instrumental/ The guitar almost reminds me of the band Death. Pretty bad ass harmony leads at one point. Akhenaten unleashes some devil like screams towards the end of the track. Pretty good song.

(05) "To the Black Tower of Victory" consists of some pretty average rhythm. Nothing real exciting in all honestly. I'm sure it was just one of those songs just thrown into the mix. Definitely my least favorite.

(06) "In the Bliss of the Eternal Valleys of Hate" starts off with a really good rhythm, reminding me a lot of the feel of first riff from "The Wind Stands Silent". These are the kind of songs that really define this project to me. Pure fucking blasphemy!

(07) "Portions of Eternity Too Great for the Eye of Man" is a really good dark ambient/bass track with male voice reciting words speaking of good and evil. Very eerie and dark sounds. The ending in what sound like the wind standing still in speed and sound. Quite impressive ending.

So in conclusion, the release is definitely one of the better works from this band. It has some excellent songs and very few stale. I will be listening to this album a bit more now that I have fully listened.

"Distant In Solitary Night" is the fourth album in Judas Iscariot's onslaught of the Black Metal scene and generation of past and present. Akhenaten spills forth another classic of depression and hate. Seven tracks and fifty minutes of sheer sublime Black Metal.

After hearing all of Judas Iscariot's work, it's safe to say that this is one of the best and one of the greatest Black Metal albums of all time. Although this is a highly repetitive piece of work, it will keep you hooked right until the very end. In some ways this is a typical Black Metal album. It's repetitive, atmospheric and driven by highly melodic guitars. Rarely are there any noticeable or distinct changes in riffs, it's mainly just repetitive sounds which create a cold and bleak atmosphere. Although when changes do occur they are sharp. Moving swiftly from one riff to the next and then repeating the sound again and again. Riffs create a depressing feel and one which conveys total desolation and emptiness of the soul.

Each instrument is distinguishable and easy to pick out. Even the bass, which is an instrument that often gets left behind, struggling to enforce itself on the atmospheric nature. Bass is usually a low key instrument that only serves to create a deep moving between the other instruments. The repetitive affect not only takes hold of the guitars by the neck, but it's something that also imposes itself on the bass. Keyboards play an integral and imperative part in creating the slow transcending and depressive atmosphere. Drums are at times mid-paced and at others fast-paced as you would expect from Black Metal. They're typically aggressive, which is what has always suited the Judas style. The drums are only used to support the guitars, which are probably the most important instrument out of the set. The vocals are typical of Judas Iscariot, Akhenaten often sounds like he is speaking but with highly distorted vocals of course. These add to the aggressive nature of the album and portray the lyrical feel of anger and desolation, along with Nihilism and Anti-Christianity.

Certainly a top notch Black Metal release. One to be listened to one a dark and gloomy night where the listener can bask in all it's glory. Most notable highlights for me include, The Black Clouds Roll Under The Parapet Of The Sky, In The Bliss Of The Eternal Valleys Of Hate and The Wind Stands Silent.

This album follows in the more melodic riffing style of Of Great Eternity. First off the drums are back to being all over the place like they were on Thy Dying Light and I like it, the sloppy playing really adds to the songs. Each song really has an epicness to it and has much atmosphere. Distant in Solitary Night has a very brutal feel to it, more so than past Judas Iscariot albums. Akhenaten loves adding a new sound on each release.

The Wind Stands Silent might be the most brutal song Akhenaten has written up until this point. Solid riffing and wild drumming. This song gets a thumbs up. The Black Clouds Roll Under the Parapet of the Sky is the highlight of the album. Holy fuck this song rules! Melodic catchy riffs, pounding drums and some amazing vocals, this song has it all. Portions of Eternity Too Great for the Eye of Man is an 11 and a half minute spoken piece with some bass and synths in it. Some call this a throw-away track but I enjoy it. The lyrics to it are very good and Akhenaten sounds fucking evil just speaking. A nice way to end an album.

Just like the first three albums, Distant in Solitary Night is no different. A must buy if you even slightly like black metal.