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AlbumREVIEWS: 'Homeward Path' by Vallendusk
Vallendusk is one hell of a band, and thatâs no pun on its devilish disposition
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Vallendusk is one hell of a band, and that's no pun on its devilish disposition. Not only has the Jakarta-based band consistently churned out front-to-back great records, it has done so internationally.
But instead of riding the trite 'go international' hype so many lesser local artists rely on ' here's looking at pop artists performing abroad in front of Indonesian embassy crowds ' Vallendusk focuses on continually expanding its palette of atmospheric black metal.
If satan-aping growls, morbid lyricism, diabolical minor-chord riffs and inhuman drumming aren't your bag, Vallendusk will certainly offer no interest.
But those in the market for these musical elements will find that songwriting and arrangement-wise, Vallendusk is up there with the best of them (Fulgor, Mystification, Burzum), adding a component of immediacy that makes its music somewhat more-accessible than the majority of its obvious influences.
Admittedly, if this contextually clear production takes anything from the songs, it is that sense of inexplicable sounds rusting together into a giant mush of evil soundscape.
This is black metal done professionally, and for ardent fans used to the confrontational low-fidelity of what is considered 'true' black metal, that element of true grievousness may be lacking here.
For better or worse, it was the element of unfiltered hate of early 1990s black metal that made those records feel triumphantly monstrous and truthful.
But, for what it is, Vallendusk's latest is an instant Indonesian classic.
The record, Homeward Path, was released internationally through German metal label Northern Silence. And, at just seven tracks, the record manages to rummage through progressive rock, theatrical metal, black metal, viking metal, as well as thrash metal.
The 'epic' element still presides over everything, with grandiose arrangements that favor somber chord changes and twilight guitars that bring to mind black metal legends Emperor and the mid-period records of Metallica, when an increasing sense of the dramatic began to creep into their music.
Vallendusk's choice of what sounds like organs, interspersed throughout the whole album, certainly adds an ambience of theatrical-sorrow to the whole record.
At times, Vallendusk's choice of delivery brings to mind modern 'post rock' bands in their striking despair; the way the drums and vocals clash against ringing open chords to depict a sense of yearning.
There are even elements of 'emo', the much-despised genre known for its self-pitying depictions of love lost and sorrow gained; but that influence can't be denied on tracks such as 'Eyes of the Watcher' with its warmongering grind that speeds through with blasting drums and tear-filled vocals with constant dramatics.
Vallendusk has mastered the dramaturgy of prog-metal acts like Dream Theater, by continually forcing minor-chord-driven sections further down their natural path (some songs even have breakdowns that could be construed as modern progressive).
Lead guitars swell with virtuosic magniloquence alongside swelling vocal hysterics, and bridges turn into ambient-driven breakdowns of twin clean guitars playing against each other.
What Vallendusk lacks in evil-conjuring, it more than makes up for with songwriting proficiency.
Stand outs like 'Earth Serpent' and 'The Wayfarers' take no time to deliver both catchiness and urgency in between dynamic arrangements that float high and dive deep down without a hitch.
For those interested to delve deeper into metal's more extreme side, Path is a good entry point. For those already riding high on the darker shade, this is without question, a must-have record.
