 Carpathian Forest Hailing from the frigid, dark region of Stavanger, Norway, Carpathian Forest originated and manifested their skill in relative isolation from the thriving Black Metal arena centralized in and around Oslo in the early 90’s. As with much of the early recordings of Norwegian Black Metal acts, the ancient, freezing and haunting spirit of the Bloodlust And Perversion demo (1992) paralleled that of their bitter surroundings as well as the cold interior scene of the two individuals who were responsible for the sounds, Nattefrost and Nordavind. The ominous nature of the music, with its cavernous blackness exuding from the thick, gloomy guitar sound, carried an overwhelming effect that secured the band a place among the genre's elite. Simply speaking, Carpathian Forest performs grim, cold black metal in the standard Norwegian tradition. The sound is raw and dirty and the soul of the music is bleak and unforgiving. What separates them from the multitude of acts that dwell in similar sonic territory is their skill in combining icy atmospheres with what are essentially basic rock ‘n roll riffs and rhythms. Of course, this is surely not an innovative concept, however, it is not the approach that sets them apart, but rather their delivery and ability in it's execution. The band’s skill level in this department places them in the same league as Celtic Frost and DarkThrone, arguably two of Carpathian Forest’s most significant musical inspirations. Usually, the music is focused more on one aspect than the other, as in "Sadomasochistic", which centers on a framework of black ‘n roll riffs and tempo shifts, while a menacing atmosphere of dread flows underneath. The band quite likes this approach, as it forms the concept for much of the material here. Yet, when the band slow things down and allow the freezing chill of their atmospheric tendencies to take control, as in the mesmerizing "The Northern Hemisphere", the effects are nearly paralyzing. But it is when they merge these two elements, with equal attention to both, that Carpathian Forest truly impresses. "The Swordsmen" is perhaps the most convincing example of this method. The first half of this track is pure blackened rock ‘n roll, yet near its midpoint the music comes to a halt save for a haunting keyboard hum, introducing the song’s next phase of majestic black metal excellence. The usage of keyboard atmospherics and sorrowful guitar leads during this movement, united with the tortured and desperate screams and rumbling rhythm foundation, proves highly effective and takes its place alongside some of the genre’s classic moments. A similar success in this territory is achieved in "Lunar Nights", which builds gradually from its initial slithering structure to menacing groove-laden horror, eventually culminating in a frostbitten blast of death worship. There is an eerie uneasiness coursing through this music. Through the execution and delivery of the material, one can clearly sense that this is far from an insincere, staged expression. Unlike too many of their genre brethren who wave the flag of hate while failing to express such sentiments convincingly, Carpathian Forest’s music is intoxicated with abhorrence and savagery. It’s as if the music is flowing through the veins of the musicians, poisoning their very souls with misanthropic hostility. Indeed, if the sadistic sonic terror is not enough, the lyrical themes will be. Nattefrost and Nordavind are obsessed with sadomasochism, suicidal thought and activity and the worship of death. And, again, unlike their contemporaries, these lyrics are not tainted with fantasy indulgences, but rather a dangerously serious intent. Carpathian Forest acknowledge death as the only true master of existence, and as such, dedicate their lives and art to its worship. The imagery and sensations this work brings to life within the listener's mind are at once disturbing and exhilarating. The thematic sequence seems to work in reverse, from the winternight contemplation of "The Northern Hemisphere" to the final act of deadly perversion, cold-blooded murder and self-execution explored during the album's beginning moments. Sick with murderous impulses, the subject obsesses over these urges. After deep experiences of suicidal indulgence, the intoxication of murderous torture refuses to extinguish. The fantasy is brought to life under dead winter's remorseless midnight skies. A cold, grim destiny for the tormented victim, a bloodstained, snow-covered northern landscape and a morbid impulse granted with satisfaction. A final glance to the black sky, and a scream of anguish and triumph before the cold steel of the blood-soaked blade plunges deep into the skin of the subject. The surrounding mountains stand in indifference, witnesses of a morbid fascination brought to reality. Black Shining Leather stands as a grim ceremony of torment and suffering. It is a cold, bloodstained gravestone of an album, seething with hatred and disgust and reveling in deathly desires; a bloodsoaked murder/suicide under polar skies in the dead of the winter night. The malicious swagger of the Motorhead-meets-Mayhem riffwork and the epic, ice-cold atmospheres merge to create a menacing and haunting work. The recording ends with a reworking of The Cure’s "A Forest", an intriguing interpretation that fits in well, especially thematically, with the character and concept of the album. Quite possibly the most intelligent and appropriate cover by a Norwegian black metal act.
Tracklisting
Carpathian Forest Discography Through Chasms, Caves And Titan Woods EP (Avantgarde, 1995) |