Adaga

“Das Ruínas do Ser” (Altare Productions, 2022)

(originally written for Black Metal Daily)

The Portuguese Black Metal scene is in constant evolution. Portuguese Black Metal musicians have this sensitivity that resonates deeply with the listener. It might come from our musical tradition, from our human perspective on life, from a deep and dark corner of our minds, but the fact is that we craft amazing examples of suffering through Music. Black Metal can sometimes emanate feeling of Hate and Pain. That visceral Anger that resides deep inside each one of us, that needs to escape and liberate the vessel from which he feeds, is present in the genre, it must be the core emotion the Artist chooses to place upon that Altar of Creation. Music does that to people. Music is the means though which we, mere mortals, expel our Heart and Soul; our Blood runs out of our Words, and our Thoughts, and our Existence. Black Metal has taught me that, Hardcore Punk has taught me that: Music is not just Music; Music is basis on which Human existence resides; Culture is what feeds us in times of need, in times of Pain and Grief… Music is All.

This takes us, at last, to the reason for all these words, these ideas, and painted images, a recent Portuguese Black Metal output that goes by the name Adaga (dagger, for non-Portuguese speakers), and I have not seen, in recent years, a more fitting name than this one. The Music, the Sound, it cuts the flesh, softly, caressing one’s fragile skin, delicate being. To say it amazed me, is being very controlled when choosing words. It is not what you may possibly be expecting from Altare - the label - but if there is one thing the Mastermind behind the label has taught me since his days as Bubonic, is that there are no boundaries for good music, and Painful music, for that matter.

It is not your easy to assimilate Raw Black Metal scenario; I would not label it as Depressive, although it does, indeed, diffuse emotions I know from a close… it shows the genre from an emotionally visceral side; a piece of music that pours Emotions and Feelings, leaving you in Trance and Destroyed. The multitude of Emotions that rush through my mind, at this precise moment, are hard to put into words, as I feel Overwhelmed by the Artistry put into these songs. Musically speaking, I adore the fact that the Artist has Stripped down, Simplified, and constructed such a Beautiful piece. The usage of the Portuguese language only makes it Harder and more Painful. The immediate understanding of the language permits the instant assimilation of the Feelings that live in each one of those words… almost Magical, in a Dreadful way.

No need for overdoing it, no need for anything else than Music and Emotions. One is not used to this sort of approach anymore, so it may sound different, but this Honest attitude is so much richer than most acts coming out today. It has this Anger that leaves the body at times, showing the Artist’s true being, true self, true essence. It is quite hard to describe a set of songs that ended up being, to this scribe, more than just songs. We need to go beyond the known structure of a song, dig deep into the Artist’s intent, allow his feeling to be absorbed by us, for that is the best - and maybe only - form to understand the Music and the Art. Beautifully Depressed, this is how I have always described the music of Joy Division, one of those bands that resonate a lot within my, a music fan and a person. Their music is more than music; their music is a Testimony of existence and living.

That is also what Black Metal should always be: a depiction of the Artist’s feeling, emotions, existence, beliefs, etc. In a little over 30 minutes the listener is taken on a Voyage, painted in shades of grey and black, in which his only companion is his own Existence and Death. Pay close to the words that stand out, please. They tell a story, a story of Despair and Mourning; they tell a tale of Sadness and Ending. Perfection may very well not be reached, but the Path is still there for each one of us to choose…

A L T A R E

IRAE 

“Assim na Terra como no Inferno” (Signal Rex, 2022)

(originally written for Black Metal Daily)

I have been following the musical journey of Vulturius for many years; even if I can't precise for how long, I know it has been for some years now. I have always had him as one of the key figures in the Portuguese Black Metal scene, but never untouchable. In recent years I have seen him operate changes to the sound that initially characterized him: visceral and rooted in a more primitive and "classical" vein of Black Metal. Still, I never saw him as an artist who closed the doors to experimentation. Initially I had written innovation, but honestly, it is not that I see him as an innovator (which should not be read as something pejorative, obviously), but more as an artist who remains faithful to the bases he has taken as his own, and his art, go  for apparently odd elements to the genre, and adds them to his music.

When I heard this album was going coming out, I decided to stay away from the first music that came out. I am of the opinion that IRAE should be experienced as a whole: each track describes / reports a moment of a longer journey; it is not limited to being a series of tracks thrown into the wind. So, when "V Caminhv Primitiv" starts, I immediately thought of Norway, 90s (might be mistaken). The sound of rain and acoustic guitar are a superb introduction to another IRAE work. What's waiting for us around the corner? Mention to the fact that all songs are sung in your native language. Fortunately, musicians realized, long ago, that Portuguese Black Metal sounds immensely better when sung in Portuguese.

Linguistic issues aside, let us focus on what really matters: music. “Assim na Terra como no Inferno” is IRAE’s 6th album and follows the path of his most recent works: experimentation, even if this time it is a little more sober and controlled. Initially, I was surprised; too atmospheric? Well, atmospheric, atmospheric, no. Different... "Lurking in the Depths" brought elements well reminiscent of the 90s, and "Dangerouz..." brought total insanity. Both are, in my humble opinion, brilliant works of Black Metal, primitive (but not at a French fries’ production level) visceral, chaotic, and aggressive.

What we have in this new work has spread - or the other way around - to the Split with Deathwalker (Nihil Invocation, in this case), in which we have a Vulturius that is more... would not say calm, which may be misinterpreted, but perhaps more melodic and "clean". I'd say there's an Eastern vein on this album, maybe melody induced. It seems to me to be the most adult and well-structured record he has done with IRAE. Not that the previous ones are not, but this gives me the idea of immense growth in all creative senses. I venture to say that it will take a while to absorb, but only because of this almost complexity, which, although not new, is something that requires time. Attention to the small guitar solo in "Símbolos do Império"... there are some guitar riffs there that take me back me to Satyricon’s "Rebel Extravaganza" phase... Freaky.

Anyway, this work proves that Vulturius has nothing to prove, and the steps he has taken since 2020 show it. To mention: the main riff of "The Hanging" is beautiful! The melodic weight, though rough and melancholic, is superb. Welcome another pearl in the already long discography of this musician from Brandoa.