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Graven > Perished and Forgotten > Reviews
Graven - Perished and Forgotten

Perished and Unforgotten - An Early Modern Classic - 92%

slaughterking0313, August 27th, 2016
Written based on this version: 2002, CD, Undercover Records

Emulating a charm of the early second wave scene, Graven seemed not too far from the roots of early black metal. They used the trademark lo-fi production, an incredibly cold pallet of tones and scales, tearing vocals, and a certain groove used in many early black metal albums, a gallop if you will.

The second wave riffs of bands like Mayhem and Darkthrone, capture an emotion and a feeling, one that transports you to an atmosphere of something that something only black metal can do. A cold feeling, delivered by a pounding use of similar tones and keys, aided by production and scales used by the musicians, to make a band stand out amongst others, and makes sure the music is made to transport you to an area outside of enjoyment.

Graven uses this key point on Perished and Forgotten, filled with painful screams and screeches, trademark cold ass riffs, and mid tempo changes to add unsettling vibes to the music. An atmosphere, not presented by ambience or other trademarks of the atmospheric black metal genre, is created through the piercing sound of the album as a whole, which finally translates into a freezing atmosphere, and a freezing sound.

The album, made in 2002, is obviously caught between two periods of black metal, the straight forward old school period, and the rather sophisticated and more experimental side of the music. On a first listen, you can immediately hear leanings towards the former, the rather simple, yet iconic, form of black metal. Filled with the riffs of the of the classic black metal scene, and a classic groove occasionally popping up to emulate the styles of 2nd wave mid-sections. This balance of mid tempo groove and emotion, to blasting up tempo sections that tear through the sound, which each play a role in bringing this special album to a memorable equilibrium between a multitude of influences.

A multitude of influences is what can describe a huge part of Perished and Forgotten on top of atmosphere and classic sounding black metal. The groovy mid tempo sections of Darkthrone, can be found on many songs featured on the album. A faster, up tempo, soar of Emperor, maybe less symphonic, but driving home a collection of riffs and vocals that emulate a somewhat Emperor-esque feel. And maybe even the classic riffs of Taake and Mayhem, combined through other elements to give the band a unique drive to the music.

Overall, Perished and Forgotten can reach highs of pure black metal ferocity, and traces of atmosphere left from the riffs and patterns presented in a certain way. With a multitude of influences, Graven can connect with anyone on a level of similarity between artists, making it accessible to fans of classic black metal.

Darkness, Sorrow, and Death - 80%

frostcovered, August 31st, 2012

The album starts with a dragging intro. It sounds like either a heavy storm or, in my experience, the sound of heavy military vehicles marching. Some howling dogs/wolves are heard and then there's a church bell. The first song, Ravens' Call Of Death, then starts off exclaiming "darkness, sorrow, and death", strengthening my feeling of war sounds.

The vocals are cold and hateful and capture the general atmosphere very well. They appear to be slightly echoing and the lyrics are well-pronounced. The drumming is straightforward, at times blasting, and at times mid-paced, but never a-rhythmic. Bass drums aren't overly fast and follow the pace of the main drums. What is to be noticed however is the sound of a (wooden?) block that can be heard at times, and sometimes even reminding me of the sonar sound of a submarine, again fitting a warlike atmosphere. And quite original. Guitar riffs are simple and repetitive, yet never getting boring. They sound distorted and very raw. The fast parts are carried by the drumming while the guitars maintain a more mid-paced, slightly dragging tempo. At the end the seventh track, "Of Misanthropic Spirit", we have some keyboards in the background playing some long notes trying to blend into the atmosphere. It's a little unexpected and not really necessary or fitting of the album's style, to be honest. Early during the last track, "Perished And Forgotten", there are slightly more restrained keyboard in the background that do actually fit the music well. The track closes again with "darkness, sorrow, and death" and finally we hear the storm and church bell again. This time it reminds me a bit of thunder or heavy explosions at a distance. It kind of closes the album, creating a coherent set of songs instead of just a number of separate songs in the same style.

Vocals and guitars are both mixed quite loud, but not too much so. There's a lot of distortion on the guitars, adding to the aggressive feel. All the songs are performed in a melodic way, so no instruments "go their own way" to create complexity, just straightforward raw and aggressive black metal.

Summarized, this album is very close to early '90s Norwegian black metal, which is a good thing if you are into this style. Fortunately, the album isn't overproduced and although it doesn't sound like something that hasn't been done before, Graven still manages to add sufficient originality and identity.

Misanthropic Art - 85%

Danthrax_Nasty, November 19th, 2003

Kicking off with deep windy roars, and a bell tolling to the rythm of the crashing slow paced guitar and drums, this is pure black metal done in a very kult fashion (the same riff that opens it is repeated at the end of the last song as the song fades). Shortly picking up with total black ferocity, that sounds very similiar to Pentagram era Gorgoroth (the 8th song I think actually rips off a Gorgoroth riff from Pentagram, but its played a little differently so I easily look the other way). The overall feel of this album varies a bit, but mostly has early black metal (well the Norwegian scene anyway) worship written all over it, which is good. Now, even though on the inlay of the album it states -"This is Gravens final recording in that kind of too clear and unraw sound"- I believe that the only reason for this is due to a well produced mix, which is IMO is a high light, or adds a good quality to this album. There are also parts on this album that kinda remind me of some more simplistic Dissection material, like the great sounding melodic lead on the 3rd song which is very short but creates a great atmosphere, also this song contains some great, extremely low in the mix, keyboards (in a small part also) that add to the blasting, hatefull, anti life reaping sounds you hear.

The guitars which are played at a variety of tempos (speed picked, mid paced, slow druge,and all inbetween), which I should also add is a fine highlight, has riffs remniscent of some Judas Iscariot or even some early Emperor (the speed picked riff in the 6th song is very similiar to some things they have done), but not enough to exactly qualify them as a similiar artist. The parts with keyboards placed behind them are done in a more atmospheric way as to merely enhance the overall sound and further harmonize with what the guitars are playing. Capturing a great guitar tone is not easy, but surely needed to be at the very least a decent black metal band. This band acomplishes that and more, and I cant really fully and acurately describe the killer music that is here but I try. The guitars dont really drone on much at all, and the songs are really well written, in that repetition does not ruin the sound nor unoriginal, uninspiring, uncool riffs damage the album overall. I would hesitate to nominate this as greatness, but this is certainly deserving of a spot in a black metal collection.

My personal pick off this killer record would have to be Storms Of Inpure Blood, with its total old school chord progressions done in an almost Gorgoroth way with some Aeturnus-And So The Night Became type riffs.
The druming is some what typical in its sound and approach, yet still retains the proper necessities of which characterize an individual sound. They certainly pound hard, reminding me of a Hades- Again Shall Be sound and they are done in flawless tightness as one would expect from a top notch act.

Another great song on here is "Of Misanthropic Spirit" which has pummeling drums placed behind some of the most technical, and well written guitar work on here. There are parts that nearly become catchy riffs, in that they are just killer, I want to go and kill the first living thing I come across type riffs( if that makes any sense?). Odd riffing, that delves further into the melodic aspects of this band more so than the rest of the songs really add a needed element to this album. I liked the keyboard parts also, since there are quite in the mix, and just fit against the wicked tones of the violent guitar riffing.

The vocals are punishing, blackend, scratchy waves of hate filled power. Again I must say also that the overall production of them are quite pleasing due to the clarity of the singers annunciation and verbal assaulght. Maintaining a completely Black Metal type vocal format through out the entire release the songs are utterly newer Underground Black Metal at its finest, and most die hard worship of old school sounds then most can hope to acheive.

This two man band, on Under Cover Records, have created a classic kult record of 8 war hymns in the purest of unholy veins of metal. Recorded in the winter of 2001 at Sound Art Studios, this album is a must for all purveyors of the Unholy Music Scene. This album was Graven's first and final full length album, and I think out shine Vargsang's solo work in some areas. To quote the band, this "Great Misanthropic Art" is nothing less than true black fucking metal. Two Goat Horns Raised In Bloodshed!!!