Blood of the Heathen Ancients

I think Horn of Valere's compilation is the first Deathgasm release I've reviewed that I can absolutely get behind. I don't have a problem with the label at all- they're clearly incredibly dedicated to extreme music and I respect the work they do- but their releases have a consistent ability to just do nothing for me. Horn of Valere, however, is a complete turnaround of that notion- "Blood of the Heathen Ancients" is not only one of Deathgasm's strongest releases in their lengthy catalog, but definitely in the upper echelon of USBM as a whole. The band's epic, riff-oriented style, seemingly patterned after bands like Hirilorn and other European artists, is enormously refreshing after slogging through disc after disc of dissonant warbling and depressive drudgery. Those who dismiss USBM outright would be advised to check this out- Horn of Valere easily stacks up against European artists and shows another side of USBM which has been, unfortunately, rather underexplored.

My favorite black metal bands tend to make songs that are lengthy, narrative, and riff-oriented, and Horn of Valere falls right into this Taake/Hirilorn paradigm while still putting a uniquely American spin on the style. A bit more restrained and dynamic than their European cousins, Horn of Valere makes extremely melodic black metal that incorporates bites of '80s heavy metal and old punk into its music to make a sound that's particularly timeless and memorable while not sacrificing any of the aggression of more well known artists in a similar vein. This is extraordinarily riff-oriented music, especially for the USBM scene, which is so often concentrated on a rhythmic attack- Horn of Valere are refreshingly pure, letting the guitars do the vast majority of the talking on this release. And the riffs are phenomenal, ranging from tremolo renditions of elaborated punk chord structures to somewhat more virtuosic, lead-driven work (such as on "A Prophecy of Ivory Skies") which brings to mind a more refined and ultimately interesting take on Arghoslent. "A Blaze in the Northern Sky"-era Darkthrone's sense of pacing and song structure emerges on the longer tracks, with songs like "Ageless Winds of Infinite Wisdom" coming off like a slick, modern, melodic version of "Kathaarian Life Code." These guys have done their homework and absolutely know how to construct interesting black metal, but above and beyond that have a talent for the essential pieces of metal songwriting- riffcraft, texture, rhythm- that sets them apart from the rest.

The fairly long track times on this disc- it does open with a twelve minute song, after all- might suggest something is amiss, and I'll admit it upfront: there does seem to be a hint of post-rock influence on this release. However, given its 2004 release date, it's clear that Horn of Valere definitely missed the post-metal movement that's resulted in so much disposable trash. More importantly, Horn of Valere seems to incorporate these structural influences in a way that's useful and relevant to the music as a whole. Other black metal bands who employ post-rock apparently think that it's a shortcut to wimpy acoustic passages, major key melodies, and a general softening of their sound. Horn of Valere, on the other hand, uses this influence to make their music more dynamic: the slowly developing, riff-to-riff, lead-to-lead structures of songs like (again) "A Prophecy of Ivory Skies" helps to expand the songs without stepping on the general intensity of the music. It's probably one of the most delicate and effective applications of post-rock I've ever heard in a black metal disc.

But still, these influences are minor compared to what really makes this release so absurdly good: the riffs. Generally simple, elegant, and even somewhat typical, Horn of Valere takes traditional melodic black metal riffs and somehow manages to twist them just enough to make them sound fresh and ambitious. An inherent grasp of texture and chord arrangement allows the band to create riffs that sound familiar yet still work tremendously towards creating a feeling all their own. While Horn of Valere's melodic sense is firmly within the realm of traditional black metal, I can't help but feel as though there's an intrinsically American quality to it; subtle undercurrents of blues, American folk, and perhaps even old country that flitter around the edges of riffs sculpted from traditional European molds. While Horn of Valere does nothing particularly outstanding and obvious to create an identity for themselves, their songwriting does all the talking and results in a release (and a compilation, no less!) that manages to have more of an identity than many larger bands can cultivate.

Horn of Valere is a band who never got the attention they truly deserved from the USBM scene, perpetually more concerned with flash in the pan displays of novelty and pointless antagonism than concrete music that seeks greatness. They represent a true ambition and vision within the well-established tropes of black metal which shows that, no matter how well you think you know the style, new subtleties and layers can be uncovered from even the simplest and most seemingly cliched elements. If you can track this disc down, absolutely acquire a copy. Even if you don't find it as seminal as I do, it's nearly impossible to deny that, within its confines, is a grasp for true artistry in a scene of boredom.

(Originally written for http://www.trialbyordeal666.blogspot.com)

This is actually well worth a 90(+,-) rating in every conscionable way. However, because of its sheer mass - running time 1 hour, 6 minutes - the cd is packed to the point of flaw. There are irritating little clicks here and there on the disc, which vary in annoyance level according by the cd player itself. Due, no doubt, to the fact that the cd was overloaded with data. Which detracts greatly from the overall product, and leaves me to wonder if less in this case wouldn't have been more.

Now down to brass tax.

The influences on this disc are at first recognisable. Immortal meets Darkthrone with Enslaved styled basslines, a dash of Mayhem and Emperor, all topped off by a sprinkling of Hellhammer. A tried and true convention of (post 90-ies) black metal, at least in terms of the USBM underground. Though Horn of Valere seem to be able to distance themselves from being simply a knock-off or replication of this style of black metal. Sure, they're old school sounding, though Horn Of Valere deliver their music with such a conviction as to never warrant that dubious distinction of being a total scam. It's close to the edge for sure, but there's more here than meets the eye. The devil, is indeed, in the details for Horn Of Valere. It is the seemless melding of these styles that makes "Blood Of The Heathen Ancients" a memorable disc.

The first nearly twelve minute long epic, "Ageless Winds Of Infinite Wisdom" showcases this ideal in action. Starting off with the obligatory sound of swords and massive battle, the track kicks then into high gear. Utilizing the convention of the Darkthrone styled black blast and tremolo picked guitar and bass lines with vocal accompanyment. Only to later breaking down into an old Enslaved styled rhythm section and chanted vocal line. Just before speeding back from which it came. Simple. Effective. Yet, strangely, the ancient formula works, as archaic as it is, when Horn Of Valere do it.

It is the peaks and valleys from whence these long-winded compositions are spawned, collapse and form new integral parts of the whole that the band showcase their originality. The musical equivalent of a tidal wave, sometimes incorporating more serene moods than others. Always inspiring mood, regardless. Hatred. Anger. Pain. Misery. Triumph. All here, as they should be.

In this, Horn Of Valere could be compared, as loaded a statement as it may very well be, to Nargaroth. Certainly, the parallels are there. Songs such as "Call From The Grave" do not help to distance the analogy at all. The vocal style is not so different from Nargaroth as to merit much different either. Though the music as a whole is far different from this and could only be understood upon listening to it for oneself.

Even so, detractors of this particular style will, no doubt, find Horn Of Valere at fault in much the same manner as Nargaroth. Though, the very basics are here, the soul of black metal as a genre as it is contemporarily understood. A reference of "As Christs Wrists Wept Red" will indeed prove this. With as much originality as is warranted to keep it from being a total waste of time and energy listening to this epic piece of plastic. It is worthy. It is well done. That is a commendable enough task in itself, when done to this degree, at least.

It should be interesting to see where Horn Of Valere leads to next, as the material is pulled off very convincingly both here as well as in a live context by the band. Truly I have not heard early material this good since Ibex Throne's first dark utterance by way of their "Transcend The Darkness" demo. Though, Horn of Valere is not Ibex Throne, other than both being impeccable black metal from the US.

The older material is much more raw, as expected. The newer material here is better produced and written, likewise, as expected. Though all but the most ardent of black metal fans (who will probably enjoy this the most) will possibly find this to be a bit of a challenge to listen to because of its extreme length. Hopefully Horn Of Valere will make the necessary adjustments, as their "Black Moon Eternal" demo suggests, and continue to release albums for a long time to come.