Thorns in Existence

Although it has spread throughout the world, black metal first picked up momentum- and consequently became infamous- in Norway. Although Norway's golden age of black metal is now long past, there remains a strong presence there. Sulphur has now been around for the better part of a decade, but I only found out about them recently. There are musicians here who have also found a place in other Norwegian black metal acts like Gorgoroth, Enslaved, and Vulture Industries, so in a way, this band is a perfect representation of where the Norwegian black metal scene stands today. Drawing sounds from heavyweights Dimmu Borgir and the progressive metal of Emperor frontman Ihsahn's solo career, Sulphur's second album 'Thorns In Existence' is a fine piece of work from this band, although its meticulously produced sound may scare away those looking for a more traditional sound.

The way that Sulphur opens up their album instantly makes it clear that they are different from the bands we have heard before in Norwegian black metal. Instead of jumping straight into blastbeats, or a drawn out ambiance with wolf howls and what have you, the band uses a mellotron. The instrument that is best known for its use in progressive rock is opening a black metal album, and instantly gives it a progressive tinge that will lurk in the music throughout the album. Musically, the style of black metal that Sulphur plays leans in close to the cleanly produced, symphonic black metal that Dimmu Borgir plays, and this is likely to be the first comparison that alot of listeners draw when they first listen to 'Thorns In Existence'. However, a better way to compare Sulphur might be to Ihsahn, whose solo material has been some of the greatest metal to come out of Norway in recent years. Although very melodic at times, the thing that makes Sulphur most different from the early black metal is its technicality. The blistering riff that opens up 'True Father Of Lies' is indicative of this, rumbling through notes quickly and furiously, throwing listeners into a very intense soundscape without much warning.

Instrumentally, the band doesn't throw many more surprises at the listener after the first couple of songs, but the musicianship is excellent and often balances technicality with heaviness quite well, even throwing in a dash of traditional beauty to soften things up a little. One thing I didn't find quite so excellent were the vocals of Thomas Hoyven. Not to say that his vocals are necessarily bad, but I felt underwhelmed by them. They are close to Ihsahn's growls, but lack the same dynamic and power to them. With that being said, I feel that 'Thorns In Existence' could have had a little more emotional intensity to it. While I am very impressed on a musical level with what the band is doing here, I would have liked it to pull me in on a more visceral level as well. I am rarely one to say this, but the album did feel a little too cleanly produced, which may have kept it from sounding as atmospheric as it could have been. That, paired with vocals that could have had some more flair to them detract from what is otherwise a great experience. Sulphur's 'Thorns In Existence' is definite proof that the Norwegian black metal scene has moved forward past its origins.

Not at all what I expected, that’s for sure. I like the occasional shake-up in my listening routine.

From the very opening sounds of “Revelation,” Thorns in Existence from Norway’s Sulphur seemed to predispose itself into my good graces. A black-death outfit from Norway, the very land that brought us black metal in its second wave, these guys are not coattail riders by any stretch. The sophomore release is a blend of black metal and some pretty interesting musical twists and turns. This brand of black metal should be practiced a bit more instead of going for imaginary speed records. It’s certainly a winning hybrid.

Heavy where needed and blackened where warranted, Sulphur creates a unique shadow throne for itself in tremendous riffing and fine drum work that throws you off when you expect the same old movement in your evil hymns. A subtle mix of thrash metal is evident throughout the album, and there seems to be a true feel for some classic sounds in here. For instance, the track “The Purifying Flame” moves along like a black-thrash effort at an even pace, but then hits the midway mark and flows off into some progressive spiel that doesn’t feel out of place at all. Just when you’re finding a little comfort in one particular sound, the band throws a not-so-obvious curve ball and stirs you from your zone and keeps you looking out for more twists along the ride. It’s a great CD to have for the fans among us that like an occasional challenge to our listening habits.

Try as I might, I could not find anything online, but in the track “Hunting Sickening Seas” the mid-vocals sound so much like an Ihsahn guest appearance it’s frightening. He has that very unique quality to his voice, so that was a highlight as well. The following track, “Luna Noctiluca,” is also a heavy, pounding groove that sets Sulphur apart from the hum-drum of the black metal scene.

With an unusual amount of outside devices and out-of-the-norm sounds accompanying Thorns in Existence, the CD can become a true favorite when it reaches a larger audience. Along with the welcomed shift in black metal gears, two new additions to the fold are present on this recording with Erik from Gorgoroth on drums and Vegard Hovland on bass. The overall production on the CD is fine, with most of the instruments mixed nicely save for the bass which is a tad low in the mix for my taste, but nothing to get in any uproar over. It’s still one of the most enjoyable black releases I’ve had the pleasure to hear, but as I said don’t expect Marduk or Profanatica here; the sound is black-prog, which could find its way into the mainstream of our underground if enough people find it cerebral enough to seek out.

It’s a winner for the black metal fan that likes some variety and can adjust to change.

(Originally written for http://www.metalpsalter.com)

2007's Cursed Madness was a well-received debut from this Norse cult, one of the few bands out there who manage to crossbreed death and black metal into a manageable and interesting form. This follow-up, Thorns in Existence, offers progress even beyond the debut, an interesting and for the most part original work. This not only impresses via the members' musical capabilities, but the immersion into its many twisted corridors of grief and vitriol.

"Revelation" is a haunting intro piece with vocal samples, playful pianos and symphonic embellishments, it feels like clearing the cobwebs from a centuries old pub or saloon only to find ghosts within, acting as if the place were never shut down. "True Father of Lies" opens with blasting precision, a restrained, thrashing rhythm in which the the guitars slice across the palm with mutilated arpeggios and noodling, creepy rhythms. Thomas Skinlo Høyven has a mix of black and death vocals which slobber over the band's polished cadence. Through various points in the song, the band will bust out some chugging breakdowns, which succeed due to the drumming and atmosphere they are steeped in. "The Purifying Flame" is busier, with an interesting fusion of grooves and later the mathematical, start/stop chords of the verse, which later quicken into brutal black thrash. "Hunting Sickening Seas" has a cool acoustic, atmospheric dirge near its mid-point, and "Luna Noctiluca" glimmers with romance and sadness, despite its bruising rhythms. Other high points include the "Invented visions of eternal salvation" for its weird electronic impulses and hypnotic rhythms, and the freakish "Throne of Illusion".

Truly a forward thinking band, Thorns in Existence rarely disappoints. The band's rhythms might turn off some black metal purists for their more punching, thrash stylings, but if you're into the more experimental side of Norwegian metal (Arcturus, Virus, etc) you will probably only find the bare minimum of experimentation. All the elements beyond the core instrumentation are well realized here, from strings and pianos to synth and samples. A few riffs might not deliver the interesting content you'll hear across the remainder of the album, but it's still quite good to plow straight through.

Highlights: Throne of Illusion, Hunting Sickening Seas, The Purifying Flame, True Father of Lies

-autothrall
http://www.fromthedustreturned.com