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Black metal music is an extreme branch of the vast genre of metal music. It's a violent and icy music characterized by references to misanthropy, nihilism, satanism, Nazism, anti-Christianity, and the valorization of pagan culture.
We've read about black metal artists who shot themselves in the mouth, others who burned churches, others yet who desecrated graves, and so on; in short, they are real prophets of what they aimed to demonstrate. But we all know that there are artists who embody black metal only in music style, not in lifestyle, and that therefore even if what they represent is deliberately non-conformist to good manners and morals (taught among other things by the Catholic religion), they are actually entirely common people.
Thus, we have a beautiful underground music that strives to represent opposition to the Christian school of thought, which brings hatred and violence and is an invincible dark dogma of free hermeneutic activity; a music played by people who are Satanists, anti-Christian, but also secular or atheist people. If the represented hatred and disdain are made so clear, I think, one wonders how well it must be done by those who have an existential reason to repudiate Christianity. I thus seek black metal bands embedded in the world's rear, like Afghans with face painting playing while strapped with explosives, but I can't push myself further than Israel.
Here, I've found a melodic black metal band from Israel, called "Bishop Of Hexen". In 1997, they produced: "Archives of an Enchanted Philosophy" and in 2006 "The Nightmare Composition" which I listened to and reviewed here. The music is melodic, but it tackles dark and nocturnal sounds wrapped in orchestral and symphonic traits. Right from the intro "Unveil The Curtain Sanity", there's the presence of a delicate keyboard, played by Dimrost, able to paint those sweet veins typical of a Theatrical Black, almost suitable for the representation of a melody typical of a mystical/horror film, even more evident with the effect of thunder in the background and especially with the voice of Lord Koder, which varies between growl, clean and the rough macabre wails.
Already in "Eyes Gaze To A Future Foreseen", we have a demonstration of what they want to play, fast, powerful, and violent black music, alternating scornful speed moments with others of technique and melodic games, excellent proficiency of Prof. Van: Helsing on drums and especially of Ariel on guitar. Sounds of gates opening, screaming women, dusty stairs, the keyboard and chorus help develop that cold and sweetly melodic climate typical of a castle shrouded in mystery.
The aspect that stands out the most from listening to this band is the spontaneity in changing atmospheres without being too obvious; moments of pure enjoyable melody alternate with those of true dark power, and everything is well done, spiced by fantastic notable riffs. The keyboards provide operatic effects, from violins to flutes and harpsichords, and the patched and shapeless voice fits well within them. A Serpentine Crave maintains an almost Gothic line, the drums burst aggressive, but guitar and keyboard outline a slow and distressing environment where an excellent voice helps spread the panic of the occult; time changes often with very self-contained technical passages, and at a certain point, an array of monstrous voices intersect, making the atmosphere as phantasmagoric as possible. "Dreaming By Nightmares" is a slow and mystical interlude, mysterious and invoking, gentle and suspended between total relaxation and impending fear.
"Self Loathing Orchestration" is evil and charged, very pompous because always and continuously accompanied by operatic backgrounds that follow the most extreme lines of drums and guitar, while "Spiritual Soul Sunset", much more technical and depressing, imparts a worldly power within melodic symphonies "The Somber Grounds Of Truth" begins very mysteriously, giving the idea of a circus or an amusement park haunted by damned souls, and soon growl and guitar will convey the idea much better. Next is "Stride The Corridors Of One's Mind", perhaps a bit too arranged, and "Velvet Demise" with many typical Death Metal standards. Dreaming Dementia concludes with a tortured voice that poetically induces a sweet fear accompanied by slow and melodic melodies.
In short, a more than decent album of Melodic Black Metal, characterized by being very "acted," almost "Theatrical," I would say, and by an accentuated use (perhaps it is a small flaw) of classical operatic arrangements. Among the major flaws, the fact that it doesn't contain solos that must absolutely be listened to, but it has something special in itself, not "original" but "Particular" that deserves more than one listen.
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