Of Starfire and Blackshadows Crawling

Procer Veneficus. One of the most infuriating acts on the planet? Perhaps. I was excited when I discovered Procer Veneficus. I was recommended them for ages and was told that Derek W. Schultz’s one man creation would not disappoint due to the similar sound to Velvet Cacoon, a band I like, to an extent. Due to the comparison to the infamous American act and the fact that I was going through a stage of finding bands with a similar sound to Velvet Cacoon, I decided that was enough and that I would promptly get my hands on some material. My interest in this act took a surprising turn. My first taste of Procer Veneficus material came in the form of the haunting ‘Ghostvoices’, a record that lives up to it’s eerie title. My impressions were positive to begin with. ‘Ghostvoices’ was a unique expedition into uncharted territories for me. I wasn’t familiar with the acoustic style of ambient black metal that Procer Veneficus had created with simplistic guitar leads and chilling vocals. From there my interest hit new heights. I was inspired by that record to search out more material from this Californian act.

I had no idea what I was in for. My knowledge surrounding Procer Veneficus, even to this day, isn’t that great. I’ve heard a number of the full-lengths, but each one contains a variety of new surprises, not always pleasant one’s either. As my journey through the Procer discography continued, I found myself becoming more and more irked with Derek W. Schultz’s one man idea. Procer has gone from an eerie, haunting outfit to a shadow of it’s former self. The ambience created by the beautifully crafted acoustics and vocals were an odd delight, but the road was littered with material that I couldn’t help but hate in comparison to ‘Ghostvoices’. Give the fact that the recommendation of this band was due to my interest in Velvet Cacoon, I was more than a little confused when records like ‘The Red Dream’ came my way with it’s bleak, but very dull sound. It was a mixed bag for me. I had expected something similar to ‘Ghostvoices’, or at least to any of the Velvet Cacoon material, but it didn’t sound like either, to me. The acoustics were gone and the vocals were considered unnecessary. A lot of the promise that had been shown was slowly, but surely being washed down stream, never to return again.

Then there were works like ‘Argo Navis’. By this point, I was truly considering giving up on Procer altogether. To me, in some ways, it reminded me of the keyboard inspired Burzum era which most people, including myself, look down upon. If one thought ‘The Red Dream’ was dull, then one was in for a huge surprise when ‘Argo Navis’ played itself out. The truly lacklustre sound was uninspired and unadventurous. I was surprised by Derek’s lack of creativity and the lack of substance on ‘Argo Navis’. However, considering the vast amount of negatives I have encountered on my Procer journey through the entire discography, I’ve found some moments of ‘glory’. With Procer, one knows that one isn’t going to be wowed by the material on offer. It is simply a case of finding more to be positive about than negative because, to me, there have always been a host of negatives attached to Procer’s work besides the ‘Ghostvoices’ record, which was a rare look into a creative and eerie Procer. ‘Of Starfire and Blackshadows Crawling’ represents the third opus in the long line of Procer records. This time, for once, we’re dealing with a record that consists of much more to talk about that ambience, although there is a fair amount of that on this too.

‘Of Starfire and Blackshadows Crawling’ is the most Velvet Cacoon inspired record I’ve heard from Procer. As I previously stated, I’ve often been left confused and dazed by the comparisons because Procer have lacked in every department that Velvet Cacoon shine in. This particular full-length however, is a rare showcase into the creative side to Procer and oddly, it’s probably the most repetitive record. The majority of Procer records consist of simplistic styling and underachievement, ‘Of Starfire and Blackshadows Crawling’ is a much more positive outlook. The Velvet Cacoon inspired sound is ripe. One can hear it whenever they look into the soundscapes that swirl around the body of the listener. This record creates it’s atmospheres in a similar way to the aforementioned outfit. Tremolo riffs, much like most black metal bands will use, and a whispered style of rasping vocals. The vocals are completely indecipherable. In fact, they’re rather disappointing. Due to the clean sound and sheer lack of distortion on ‘Ghostvoices’, the vocals were eerie and had an effect on the audience. On ‘Of Starfire and Blackshadows Crawling’, the vocals can become lost in the sound of the repetitive bass and ever more repetitive guitars. Whilst that is the case for the majority of the record, there are instances where the distortion plays a much lesser role in the proceedings. Oddly, the drums are as clean as ever. You can hear every tapping of the drums, which strikes me as odd because it sounds out of place amongst all the distortion that Procer creates to portray the bleak atmospheric tendencies.

Atmospherically speaking, this record is stronger than previous one’s and some after it. The totally ambient pieces are a pale shadow in comparison to the droning soundscapes of this particular outing. However, though that may be the case, the lack of dimension and dynamics leaves a bitter taste in the mouth. The soundscapes can’t withstand 10 minutes of repetition, which is sometimes the case. The description that comes with this record states that, “Ambient, minimalist, and surrealist black metal created largely through
automatism. Derived from and aimed at the stars, particularly the constellation and alien entity known as Orion, and the first forays into the starchamber heart. The grand inception of Procer Veneficus.” One can understand this, to some extent, due to the wide open atmospheres that conjure up images of either deserts or infinite space of any kind. Whilst this description may seem apt, it doesn’t make this any more interesting because this style has been done before and done better. All in all, ‘Of Starfire and Blackshadows Crawling’ is another disappointing record from Procer, but certainly not the most disappointing.

The following review is by a local observer, a vindictive wanderer, the inside person that no one listens to, and the being who told you so. It has begun...

Firstly, I would like to consider that any person's environment greatly effects how a person persists in their sphere of life. Whether it is expending points in time into any occupation or simply imbibing from the mire’s verge of downfall, its action is extricated in one way or another. This county is known for it's most liberal inhabitants, and without question the most retarded. Here we have a central city in which the new wave of environmentalists and leftover adolescent hippie admirers carry on in their pricey cubby holes. Yet this commonwealth is naturally surrounded by the materialistic conformity, in which it's considered to be the hyper-stereotypical "American culture" that others continue to live by. Yes, this is what Santa Cruz is and always will be; equipping that enormous front of pompousness that cannot be changed, no matter how hard it tries to create an avant-garde lifestyle. Inconsequential trends subsist from left to right, even so far to say that their American purity starts from the food they eat. Elitism through consumption of food!? How outrageous to claim such an ideal.. but I rather let these moronic-minded people continue to make themselves look like the idiots they are.

To the rest of the metal world the city is known for Decrepit Birth, a Suffocation clone that had it's hand held by mallcore atrocities to gain levels of fame that boggle the knowledgeable. Hell, I'm glad I didn't go to that Goatwhore/High on Fire gig. Nonetheless, this is an entire different sub-genre, and it also carries the some of the same distinctive traits, if not worse: biologically, psychologically, and the other exertions of philosophical realms that breach the brim of utter failure. Black metal is not only dead and ancient in the Great North, but black metal is certainly prematurely extinct in the United States, especially in California. Historically, no one looks back to see what the West had to offer. Instead, over time, an inferiorly defunct-from-the-start sub-culture had arisen as our nationalistic guard for peace and harmony. To put it into simple terms, Santa Cruz is San Francisco's seemingly poor, uppity AIDS infested rectal cavity with the praise for homelessness and so-called "diversity". Outsiders flagrantly call it "weird", the locals continue to feed into that tagline, but it's a major mental case. Wait.. that's being politically incorrect to those who may be quick to endorse deficiency, so they call them "street performers". Such is the precise circumstance with Procer Veneficus, involved with each technical inhabitant as a shitty stain that needs to be wiped clean. If you are ever to pass through here, bear this in mind: this is where the underdeveloped froth continue live on a day to day basis, even if the normality outweighs current impressions. Everything is broken, literally and figuratively.

Lo' and behold! Here subsists a microcosmic example that makes each existence apart of a tallied body count, awaiting their final inner-disintegration for the disproportionate relations. I had heard about this band a while back, but chose not to say much about it, nor pay any attention due to my assumption that it was going to suck. Boy, was I right to assume such held back remarks. This guy is possibly by far from an isolationist, and by no means an individualistic visionary. He mistreats his craft, but creates it in his own way. Thus, it is seemingly original. If you were to slow down Velvet Cacoon tenfold, apply more static, and add in more acoustic parts to their songs, you get the gist Shultz's product. But wait.. there's more! We all know the story behind Velvet Cacoon's forgeries and outlandish attempts to initiate their ecological spectrum unto others, and how much that has taken a toll on their being. But perhaps this is the premeditated means to start channeling the hate for such a band, as if they want to be hated due to attention seeking conductivity. Even though I'm here to break down a different case, I can still assure you that you can do the same with this project without appealing foolish.
"Of Starfire And Blackshadows Crawling" is claimed to demonstrate the most black metal elements within it's silhouetted contours. This is as much of a disappointment in comparison to France's Alcest and America's clique of 'black' metalists; anything Wavy Svendersuhn related. No brilliance can be found here.

"Sömn" opens the album as an intro with basic acoustic strumming structure. Only three notes are used and expanded throughout the song. Whispers are instantaneously administered with small amounts of delay. Straightaway, the whispering sounds like a woman, and that's terrible knowing it comes from the female counterpart. Once it is over, "Falling Through Endless Chasms" follows as one of the longer songs. Guitars slowly build with low quality distortion, along with simple drum patterns that are likely to be composed by a digital drum mechanics. You can tell since it certainly lacks the true extent of what real drums can exhibit. Even if it were the point to get glorious meagerness across, it‘s no excuse for lack of skill. It doesn't sound anything like black metal, but a wall of noise that keeps blaring for a minute and three quarters. Hissing has some gargling, yet sounds so very much like Josh‘s (SGL). The only way this seems to have any ounce of rhythm is because of the drum patterns, and so far it doesn't come close to becoming exceptional. When vocals aren't used until minute later, but this carries on the constant pattern from the launch of the first distinguished chords. The professed leads then vanish in the process as guitars later drone on, and rough noises gradually build as an "obscure" conclusion. It just takes it's time to end, but on the other hand this isn't anything out of the superficial ordinary.

The inauguration of the astrophysical tribute dubbed "Orion" contains tempos that are little faster, and the guitar's tone and pattern remains the same despite the title change. I would hope that there'd be more variation, but I can't believe that this goes on for seven straight minutes. It has the same closure as it did in the second track, so to me this track is really misplaced and haphazardly thrown in the mix. "Adrift In Sleeping Black" has an even higher tempo, but that's because of the snare/bass drum combinations that are finally being utilized. The introductions to these songs are very poor, and the vocals to boot. By now the only thing particularly interesting to the song parts are the hidden leads, but the riffs are recycled, no irony intended.. And not in a good way. By 6:15 the drums stop, and the basic acoustics step in to repeat same rhythms as it did in the intro, but not as much. Static later dissipates as well. Derek is surely in love with "P.S. Nautical", and that isn't even astounding to say this is ground breaking.. at all!!

In "Starfringes I Walk", ambient skills are finally put to the test as it introduces the first official short song. From the start, this makes bad television reception more entertaining. Drums once again herald no significance, but they're finally used in a different manner for the second time. More slowly and light-sounding than ever before, they're slightly introduced at the time the hissing vocals continue to annoyingly join. I hate to say it, but around 4:18 is when the leads become more recognized out of all the songs. Even if this is or isn't intended, I know that this guy's head is in the wrong place. Beheading is all it's good for. As usual, the end of the fifth track fades out for "Black Shadows Ascendance", and the guitars bring in the quality of flat laggardness. That damn pedestrian drum machine derails all stressed creativity. The guitar standards throughout the course of the album are seemingly skillful, but it must be known that there isn't much to dwell for seeking benignancy. Jordan's Wrath of the Weak is victim of this as well. Once again with the repetitious mixing, it ends with slow gradualism. For once I'm not surprised.

Now, for the judgment of the seventh track, "Astral Flames Embrace". It retells me of the very boring Animus project. Not that I'm insinuating that Golan Weiss is any better or being tunefully raided, but there is no way that this can be passed off as "metal", not even in in the smallest illustration. Every note that is produced under acoustics or lead guitar is exceedingly concealed, so perhaps you have to concentrate to make it come to life in your mind.. As if you expected it to come.. But what's the point in doing do!? No drums are used in this track, along with the synonymously secondhand vocals. From 8:31, at the nearest part to the end, you get the same empty noise as in the activation of "Starfringes I Walk", but it's merely louder. This track sounds so much like "Falling Through Endless Chasms", and at this point I don't care what it being said in the lyric work. The reemergence of "Sömn" is the finale, and it is identical with the introductory song, but no vocals are used. With the final closure I can see a pattern, but perhaps I paid too much attention to it. Each song, 1 & 8, 2 & 7, and 3 & 6 mimic each other as a mirrored figure, so naming it any different will then slightly give it character.. at least for the starving poet. Even in the right mind frame I would rather take my long overdue piss break, rather than to waste nearly an hour of my time on "Of Starfire And Blackshadows Crawling". Shultz does have minimal mixing skills, but any monkey can do that.

Black metal itself has taken the current turn in becoming the most conceptually creative, and at times I don't mind this at all. In America you have Nachtmystium wanting to become as persuasive as Emperor was with it's symphonic laden soundtracks. This time around there is no excuse in escaping that stillborn matter. It has been clear to define what is real and what isn't, so is this what we want? I find myself to say this once more, but that does not concern me, because this is someone else's creation. Fine by me, I never wanted to be apart of such an idiotic fan base.. even if Procer Veneficus has its closet homosexuals rubbing each other off to a product that was birthed upside-down, feet first, and with it‘s umbilical cord wrapped around its neck.

This noise is made from a person who is likely to take Om seriously, and all its forms of meditative austereness. Additionally, abusing the name of Burzum to claim being apart of any or all ideals that Varg researched and created throughout his incarceration. Comparing itself to My Bloody Valentine's shoe gazing, but recommending rap and tribal music as a means of experimentation for taste!? It isn't theoretically applied in the music, but this is called abstract contamination in my book.

Calling this the least bit of either definition of "black" or "metal" is an utter shame. There are no traditional forms of black metal to be found here, only the excuse of calling it so in the smallest fraction to the overall style, so it can be apart of any inner circle. It's fine if Derek wants to cut off ties from any pool of trendies, but in reality he is doing the same by wanting to be apart of it; that being he still wants his music to be sold in extreme metal distributions. Smells like an enormous contradiction to me, and with this I know that he is using the historical sense of black metal as a support system.. Even more so than a mere listener who doesn‘t know how or when to keep things to themselves. If it was meant for me to catch influenza and treat it with these legal drugs, I know that Procer Veneficus cannot cure the ailment that it sustains within the community of it's listeners. It's so good that I have to be on drugs to like it? Give me a break! I would expect to find this at a local market in the aisle where they sell those cheesy CDs filled nature backgrounds. "Sounds Of Gaylord Neanderthal Cumfart Noise" is more like it. If I ever found another copy of this pseudo Swede trash in a store I'd buy it, break it to pieces, and defecate on its shattered remains. Maybe then it'll be interesting to look at.

-- Bid sweet dreams to that!

I am in no way denouncing music work and the instruments that sustained the album‘s completion, because it does take quite the effort to start a project, come up with material, record it, master it, put your music out for it to be heard, and leave the rest of the world to interpret. Even so with all of the allegations of his falsity, and using my rights to do so, I am eternally denouncing the entire existence of Derek W. Shultz, as I do unto the falsified tales of momentary idols that get blown out of proportion; that is to say to domestic readers, Jesus Christ! For any outsiders, this matter is as flawed as any well-informed Finnish lad that may view Suffering Jesus and SJP in analogous settlement. Yes, I'm that fucking serious concerning fraudulence and the immersion in depths of infectious shams. Lately, Procer Veneficus material comes within a wooden box, (and that's a direct jab to Agalloch‘s stance), girly resinated incense that you can find at those lesbian East Meets West stores, Serpent's Kiss, Sacred Grove, Gateways, or any Longs Drugs store.. And it comes with a fucking bay leaf? Talk about trying too hard to holistically express flora. Am I jealous or estranged with frail disapprobation? Not at all, and nor will I ever be. Just because there is an extensive discography doesn't mean that it's all quality work.. and how much of this truly exists besides what is sold? Even if it does I'm glad it's limited to the fools who throw in their money away for these useless designs.

Now, if an earthquake larger than the 1989 Loma Prieta instance can be far larger and more devastating, I hope it takes the life of the worthless thousands.. Also, the misconceived name of Night.

May you rot in anguish.

Procer Veneficus is not a name that easily sticks to the mind of the average black metal listener. I am sure that is not the point either. After numerous listenings to this album I am convinced. This is one of the most strangely extreme albums I have heard. Very minimalistic black metal with monotone guitars playing repeative riffs so eerie and distant that they come across very ambiental. This is as far from the verse, chorus, verser black metal you can get. The chapters on this album are hymns of the purest darkness. The guitars has a noisy edge which adds overall extreme feeling in a very positive way as it fits the different chapters perfectly. Overall the production is kept very clean with the guitars kept up front playing the monotone riffs in a repeative manner. The drums are, to say the least, very static and does little to enhance the music. Again, it is my beliefe that the drums are there only because they have to. To a certain point the music on this disc is reminding of Xasthur. Procer Veneficus holds the same kind of misanthropic approach to the music and therebye the listener
as Xasthur do. However, to me the band under investigation here has taken it all one step further and ellaborated what bands before has been working on.

To sum up: This is not an album that you throw on while having your friends over for beer. That is not only disrespectful towards the music it will also be the worst thing you can do as this album needs you undivided attention to any good at all.
If you have the time and the strong mind it takes I strongly suggest that you order this masterpiece of ambiental black metal right way. This is an album you will never forget that you have listened to...