Chiral - Abisso (2015)

  "Abisso" was basically Chiral's second demo record from 2014, that also had a limited CD release one year after with two extra songs, that extended the demo to decent full-length duration. And it was definitely worth to make such a release, since the demo was in various ways pretty interesting.
   A wide range of influences could be discovered in Chiral's music, that was in this current state the mix of atmospheric black metal and black/doom. The latest always counts as something extraordinary to find, partly because black/doom is quite rare in general, and also the two styles aren't too easy to combine. Therefore not many can manage to create something enjoyable and impressive out of them. In case of Chiral the black/doom features were a consequence of experimenting, that came from atmospheric approach. This is usually not really supporting the heavier sound that doom metal themes might require, but the atmospheric sound and effects are also including epic elements, that are strongly related to classic doom metal. The sound still didn't become as heavy as it supposed to be, but the thick, misty melancholic atmosphere worked out pretty well with the slow themes. In the two longest songs of the record this solution was well applied. In the rest of the songs drastic switches from soft melodies to intensity are common. This might remind to some death/doom classics of the early '90s, cause the way of experimenting was somewhat similar at the heralds of the subgenre. It's another question how intentional the whole thing was from Chiral, but the results were exciting indeed. The involvement of doom features opened further depths for the atmospheric blackened melancholy, and made the album more diverse than what could be expected in this style. Strongly recommended for the fans of atmospheric black metal and blackened doom.

Lepra - Tongue of Devil Prayers (2014)

   Since the late '90s/early '00s black metal became evidently the most popular extreme subgenre in Hungary. This might not be surprising, since the style earned pretty wide attention internationally too meanwhile, but in Hungary compared to other extreme styles, the number of black metal bands also giving the absolute majority since then. But unfortunately, the impressive number of bands didn't have stimulating effect on the quality of the music in its local scene, therefore black metal earned an overrated status in Hungary. 
    Lepra's debut could be sorted to the rare gems in this small scene, despite quite evident rip-offs could be discovered on the album. That's also very typical about nearly the whole metal scene in Hungary, but Lepra did manage to give some less usual, genuine features and perspective to their strongly Burzum influenced themes. At one hand deep under the blackened mass, the album has a quite old school, thrash influenced tone, that fortunately didn't come from the limited capabilities of the musicians as usual. And this time-to time revealing ancient feeling ended up as some redefining effect, that turned the album pretty enjoyable. By the vocal style they also refused to follow the ordinary path, cause it's like half way between whispering and suffocating. In total what could be heard on "Tongue of Devil Prayers" is enough old school and tradition following, but includes elements that could be weird for those, who aren't into any kind of experimenting in the style; and very exciting for those who are able to embrace a little bit of weirdness, that isn't exactly the same old weird stuff. The album could easily catch and lead the listener by its simple and very familiar themes. The role of the atmosphere and the themes are balanced, and sound quality is also great. Unlike many fellow black metal bands, Lepra did create something easily distinguishable and outstanding, that made it worth to pay attention to this small scene.

Yetna Apmaskema - Ancestral Manifest of Evil Poison (2014)

  Usually it's easy to identify South American black metal bands, cause if they don't involve death metal influences into their music, or if they're not playing war metal, the reduced role of atmospheric sound (better sound quality) makes them distinguishable enough. Some might even announce (those who are into the style because of the softening side effect of the strong atmospheric sound) that it's a way different direction from Northern influenced black metal.
   The fact that Yetna Apmaskema by their so far one and only full-length album didn't even try to follow ordinary black metal imagery, could make the whole thing even more convincing. But a statement like this couldn't be more wrong. Even if the garnishing doesn't reflect the most evident features of Northern black, the themes definitely does. References of the biggest names of the Norwegian scene could be found in the guitar themes and even in the atmospheric effects, like Mayhem, Burzum and Darkthrone for instance. The band's better sound quality based approach had advantageous effect by highlighting their music's intensity. Melancholic slow downs are frequent and creating enjoyable dynamics with the intense themes. Musical diversity could be another reason why this album couldn't count as ordinary. In total "Ancestral Manifest of Evil Poison" is quite a Norwegian influenced black metal record, but it's also better highlighting the effectiveness of the extreme intensity that also became one of the trademarks of the genre. 

Dim Aura - The Negation of Existence (2013)

   Dim Aurra debuted with a stunning EP "R.U.S.T." in 2011, and 2 years later they've returned with a full-length album.
   Their music combined the traditional elements of black metal with one of the late '90s tendencies of the style, that tried to find its way back to the original spirit of black metal by better production quality after it was split to various experimenting subgenres. The band mainly intended to highlight the effectiveness of blackened themes and melodies, and therefore instead of the noisy sizzling atmosphere, their approach was based on clean sound. This line they've continued on "The Negation of Existence", but by an even more improved sound quality. The countings of the band proved to be pretty accurate, because indeed they wrote quite good themes for the album, and the increased sound quality had advantageous effect on the main view. This production is more relatable to how Swedish bands played and keep playing black metal. The song structures, the mix of very basic, even thrash influenced themes and catchier, melodic riffs also showing strong analogy with their style. In total the music sounds more diverse, less raw, and even if not exposing intensity is the music's main intention, the songs having somehow heavier impression simply because of the better production quality. At one hand it's easier to go into because of the catchy melodies, but in return the music sounds less mysterious, and more direct. A potential favorite for the fans of black metal!

KATO - Abyss (2023)

   Kato's returning EP continued the path that have been introduced by the debut: traditional black metal with confident experimenting ambitions. 

  It's important to state, that since the past decades experimenting with the genre became the most usual thing, and on such level, that the old school features only partly have been remained. In Europe it could be called as hipster black metal, and the very roots of this so to say abstraction could be found already in the late period of the first waved Norwegian black metal bands. Kato is interesting, cause it shows a way different perspective came by slightly different influences. Even though modern waved influences are wider and more confident than how they have been on "Conflagration", they didn't reduce the importance of the traditional elements. The music is still vile, dark and atmospheric, and it cannot be confused with the tendencies of European black metal. The reason could be that not a thick blackened atmosphere or the so called sizzling sound creating the frame that holds together the various themes, but the themes themselves have been composed to be unified. This basically takes way more effort and productiveness, and that makes Kato's music exceptional. For first hearing the "Abyss" might sound chaotic, but soon it gets clear that everything there is on it's place how it supposed to be. Similar musical wealthiness isn't usual to hear in this genre, except if it's directly mixed with another style like in case of black/doom metal. In Kato's music the mixture isn't so evident, since it's not limited to involve only a few styles, and also there's diversity in other dimensions: chaos - order, harmony - disharmony, sound - atmosphere ect. 
    The "Abyss" is not only long for an EP by it's nearly half hour length, but it also includes so many surprises for the listener, that it's able to show something new by every listening. It's complex, but not too dense or not hard to go into. Strongly recommended for the fans of black metal!

https://katokosmos.bandcamp.com/album/abyss

Hyban Draco - Where Illusions Die (2012)

   "Where Illusions Die" was the third album by Hyban Draco, and even though the band continued their unusual approach of slightly thrash influenced black/melodic death metal, a few things have changed meanwhile.
   This wasn't an experimental band anymore, but a determined one that switched between soft melancholic atmosphere and melodic blackened themes with confidence. The debut served as an evident proof already, that this combination could result pretty overwhelming song compositions, but as time have passed, the band preferred to put intensity more into focus. They aren't just occasional anymore like previously. This was led to the shortened role of the melancholic atmosphere. Therefore "Where Illusions Die" became a more balanced album, where the contrast between soft melodies and intensity prevails and this is definitely a more effective way if a band having such various influences. The themes in general and the sound also became much better, and the clear sound also proved to be more reasonable for their minimalist melodic parts than some blurry atmospheric background. This was also a step that pushed their music slightly more favourable for underground fans, but despite being an underrated band, by still their catchy themes making it enjoyable for wider audiences as well. 

Black Pestilence - Tradition is Obsolete (2011)

 If Black Pestilence did something unusually weird by their debut, than with their returning album they successfully exceeded that. And it also couldn't be determined as some "let's just stay at the good old recipe, since that worked out last time too" thing, cause they tried to introduce their twisted perspective from another way. 
   As the title already suspects, they drifted further from the traditional sound of black metal, and on this album blackened themes also had smaller role. Instead the mix of punk and noise based industrial-like insanity was put into focus. As the atmosphere used to take quite noteable background role in classic black metal mainly as the side effect of poor sound quality, the same background role black metal influences had on "Tradition is Obsolete". Also it took the frequently returning framing role that punk themes had on "Vice". Even though the debut was everything but chilling, this switch made the second album somehow even more intense. For this feeling probably the lack of blackened sound could be judged for that, as the intense bass lines was led to hear, and also the audience friendlier punk basics had bigger chance to prevail. This more melodic and kind of simplified approach might be easier to go into, but only until the industrial noise sets on. That sometimes recalls the cheeping-beeping sounds of ancient nintendo or tetris games, and sometimes reminds to a rightfully forgotten remix of some terrible '90s europop song. And the chaos lets loose again. Interestingly the same features are giving the reasons why this music is easy to go into and why it's not. Even though the punk-black metal elements reminding to Barbatos somehow; after listening to "Tradition is Obsolete", the commonly shared theory that makes Japanese responsible for the creation of the sickest productions, might needs deeper reconsideration.

Gol - Appaller (2011)

   Gol debuted as a black metal band who were determined to follow the roots of the genre with all of it's well known compromise-less features. Their music reflects the same vile, dark and unfriendly impression that once made black metal extraordinary - and which became rare to find on similar level (or in less unfortunate case at any level) few decades later.
   Even though overwhelming intensity is the album's most noteable feature, slow downs and switches to middle speed are common, that are effecting advantageous by creating contrast. The band preferred basic catchy themes that are complying to speed switches easily, and also resulting an obscure atmosphere. This atmospheric sound doesn't have such predominant importance like at classic Norwegian bands though, so "Appaller" sounds somehow ancient, and reminds more to old Bathory. This kind of small difference might have higher importance than how it seems, because it's also the reason that makes the music sound more aggressive. And also suspects some analogy with other Australian extreme bands, who are famous about trying to approach things a bit differently, and ending up with something raw and heavier than usual. "Appaller" might be enjoyable for those who prefer the ancient sound of black metal. 

Ignominious - Death Walks Amongst Mortals (2011)

   After the main direction that black metal took from the late '90s, that made the style the most popular extreme genre, even it's underground status could be highly questioned. However the path that was taken by the classic Northern black metal bands in the early '90 led straight to the current situation, and to doubting it is a fact or trying to prove about a style that it's still underground, is not really convincing. Since than probably the most effective thing a band could to denounce the late tendencies is to return to the very roots of the genre like how Ignominious did.
  In the time period of the late '00s and early '10s when their debut came out, it counted as a rare event if a band tried to recall the most ancient sound of black metal, and on the side of the that time successful sympohonic, melodic and pagan directions it sounded quite refreshing. "Death Walks Amongst Mortals" unified the early '90s sound of the genre in a quite intense way with the assistance of catchy leading themes, and in total it reminds to old Darkthrone. On the side of the intense devastation, middle speed switches are common to let the great leading melodies to prevail. Even though the sound is definitely nostalgic, it's clear enoungh - compared to the most blackguardly oldies- to make the instruments distinguishable and that increased the album's enjoyability. The main impression is quite obscure and unfriendly, balancing between aggressive, outrageous approach and the down-pulling intention of melancholic gloomy, dark atmosphere. "Death Walks Amongst Mortals" could be a potential favorite for the fans of the old school sound of black metal.

Khaos Aeon - Exitus (2011)

   It's always appreciating to find a black metal band that doesn't follow either of the main directions that supposed to determine overly strict boundaries and limitations for the scene. In this case it's meant to not copy exactly any of the bands of traditional Norwegian scene, and also not getting involved into the lately came hipster compatible wave. 
   Even though by listening to Khaos Aeon it's evident that the band has old school roots, but not the Nowegians might come to mind. Their music lacks the usual strong sizzling atmospheric effects, and instead they were into clean sound quality and more diverse, complex themes.  This diversity might refer even to the influences of the genre itself, so even though "Exitus" does not sound old school in the traditional way, it definitely sounds old school from another perspective. For the band probably old Samael was more inspirational, and since it's like an alternative, and less popular direction, it's also resposible for the genuine main impression of their music. They preferred middle speed, intense hammering or slow down switches are kind of occasional. Only the drums are sounding a bit poor and powerless, but that could be taken as one of the very few traditional features. Still there are excellent guitar leads and solo themes to find, that could compense the possible insufficiencies. All of their unusual features made Khaos Aeon a potential favorite for wider audience and unfortunately also a very underrated band.

Burial Sun - Burial Sun (2011)

   Similar to Finnish death metal bands, the the bands of the less numerous Finnish black metal scene also had the intention to play somehow different than the bands of the way bigger neighbouring  scenes. 
   But while at death metal bands easily recognizable returning features have been formed during the decades, about black metal nothing so exact could be said. Partly because there have been less bands, and partly because most of them tried to find their own distinguishable ways instead of creating a unified scene. Some tried to sound more raw and aggressive than the Norwegians, like Beherit or Impaled Nazarene, while others like Archgoat started to play the most exaggerated, death metal influenced style of the genre. Led by probably similar motivation, Burial Sun took another direction, their music took place somewhere between atmospheric, depressive and black/doom metal. The features of all styles could be found on their one and only album, but none of them in enough large scale to have obviously determining role. They preferred slow and middle speed, catchy melodic leads and strongly atmospheric sound. The album lacks real intensity, and doom metal-like repetitive heaviness creates some contrast with the melodic atmosphere instead. The tone of the vocal style is also more like a suffering suffocating voice from a distant source that's covered by fog. Despite the indeterminate role of the three possible directions, Burial Sun sounds quite unified and was able to introduce a new (and probably less known) alternative for the genre. 

Kato - Conflagration (2022)

    Even though there have been plenty of experiments since the middle '90s by Americans to play black metal, they rarely succeeded in the preferred way, mainly because of the inevitable influence of the strong American death metal scene. It's enough to think about Miss Dana Duffey's Demonic Christ, or Mr Phil Anselmo's Christ Inversion just to mention some of the bigger names and earliest tryings the same time. Excluding a very few exceptions the situation didn't change much... until present times.
   Kato - a one man project - relesaed a very promising demo in 2020, that seemed very close to skip that mentioned "tradition" by playing black metal in a way that's kind of rare to find in the United States. The upcoming debut EP will make sure that something is definitely about to change in the scene. Excellent and intense blackened themes opening wide perspectives for the listener, that are between the traditional and modern sound of black metal. In this case the great sound quality and the complexity of the songs are responsible for the modern features. The songs are kind of long, and their duration have been used up well by diverse theme switches. In general the main impression is melancholic, melodic and gloomy, but by wild blackened hammering the raw, aggressive side also gets frequently introduced. These changes doesn't seem to build on the contrast, it's more like to create a unified sound from diverse components, that are basically all essential features of black metal. The genre itself went through plenty of changes in the past, and compared to the latest "hipster compatible" wave of black metal, Kato represents a refreshing return to the basics in a genuine approach. In total "Conflagfration" definitely worth to pay attention for the fans of black metal. 

https://katokosmos.bandcamp.com/

Release date: 18. February, 2022

Kato is George

Session drums by Krzysztof Klingbein

Mastered by Greg Chandler, Priory Recording Studios 

The Secret - Solve et Coagula (2010)

   The Secret had quite interesting and uncommon musical journey, that introduces various mixed influences and an ongoing development that  drifts the band always further into deeper extremities.

   The band started to play metalcore in an extraordinary way, that could be difficult to compare to anything else in the genre, since it was more complex than what ordinary metalcore bands are playing, and their noisy sound and obscure approach showed more similarities to crust punk or sludgy influences. With time this alternative direction became dominant, and intense grinding exchanged the simple metalcore-like themes. Even though black metal showed up as another possible influence, the main impression still reminded more to a crusty, sludgy direction. The mix of black metal and grindcore is definitely not common to find, and even most of the rare experiments are not really working out well. From this the question might come that is the analogy between the style of band and Anaal Nathrakh is just a coincedence came from the very few succesful ways how the 2 styles could be combined, or the band was building directly from the influence of Anaal Nathrakh? Still, compared to Anaal Nathrakh their music didn't become so heavy, intense and complex, and therefore the black metal features aren't so evident either. It also wouldn't be correct to simply mark "Solve et Coagula" as a grindcore album, since grinding also doesn't count as their most remarkable feature. Even though exact style classification isn't the easiest thing about the band, their music might be enjoyable for the fans of musical experiments on the vein of crusty black and grind related mixed styles. 

Hyban Draco - Frozen Whispers (2010)

   Hyban Draco debuted with an album that was officially marked as black metal, but it was much more than that. Their music provided an interesting perspective, that despite sounded very familiar and came from the very basic core of extreme metal, seemingly cannot be related directly with any big names of the genre. 
   The band operated with pretty simple themes and relied on catchy melodic leads that are usually reminding to black and thrash metal. However, the intensity of their music didn't reach ordinary black or thrash metal. Similar themes could have been heard on the debut of Witchburner and in Desaster's music in general, but Hyban Draco preferred a more epic, classic heavy metal based and melodic approach. Their short and occasional speedups aren't sufficient for calling it as thrashing, but in melodic death metal similar song compositions could work just fine. Soft melodies and strong atmosphere showed up as completing factors, and that suggested the influence of the mainstream bands of black metal, such as Cradle of Filth or Dimmu Borgir. But at one hand there's a constantly returning melancholic touch that became more dominant, not to mention the old school tendencies to sense on "Frozen Whispers", that are keep cancelling any theatrical possibilities. The band definitely had mixed influences, but they've been put well together. Even though their solutions didn't count as usual, their music was compatible with both mainstream and underground audiences. 
  "Frozen Whispers" was still in some sort of experimenting state, but still it counts as a very stunning debut, could be potential favorite for the fans of black metal, black/thrash and melodic death.

Yskelgroth - Unholy Primitive Nihilism (2010)

   According to personal experiences it's worth to pay attention on what Dave Rotten (Avulsed, Putrevore) is usually up to, because his side projects and the other bands he played with are not like copies of his main band. And unlike at most other musicians, by trying himself in various other styles doesn't mean leaving behind an evident and not wipeable Avulsed influence mark.

   By teaming up with guitarist Vincente Payá (Unbounded Terror, Golgotha) they've formed the short living black metal band Yskelgroth, that showed a quite interesting and genuine aspect of the genre. The musicians death metal background had influence only on the sound, that therefore became way heavier and more powerful like how it used to be, but the music shows no analogy with the sound, since it recalls raw black metal tendencies. The atmosphere has smaller role in this style in general, but by current conditions it's completely missing. Therefore the unusual sound selection leads to a paradox impression like it's more raw than what is known as raw black metal in general, and the music in this form is also not far from black/death either. Dave Rotten's charismatic deep growls are also missing here, since he performed the vocals in cawing black metal style, and he did it so well, that nobody might suspect his presence. "Unholy Primitive Nihilism" is definitely harder to go into than most raw black metal albums, because the continuous intensiveness and the noisy, heavy sound proved to be a combination that pushed the music forward onto another level of extremity. 

Blodfest - Lejres fald (2010)

   Bloodfest was formed in 2002 and since the beginning they've played a more raw approach of black metal. Though atmosphere still had role in music, it came by the noisy jarred sound, that didn't really rely on melodies or classy black metal themes, more like on disharmony.

   On "Lejres fald" it was maybe more effectively represented than on their older records, cause the song compositions and the sound might have been slightly better than previously. Sound quality was never their (or their genres) strongest point, since it always remained on rehearsal level. The line between less catchy or not so well written themes and directly applied disharmony might seem quite thin, but there are plenty of signs in their music that the band preferred noise making in a pretty raw way. This makes the album not so easy to go into, but the previously mentioned solution, to switch basic melodies with aggression in atmosphere creating, makes their music interesting. At some way this approach isn't far from war metal, and only the sound keeps them a bit further than ordinary raw black metal. And like in similar cases the paradoxes of balancing on the borders of styles showing up: by this step they might be compatible with wider audiences theoretically, but in practice their music isn't easy to go into, theoretically their music including features of certain subgenres, but in practice the results creating some distance, ect. However, as a genuine approach of black metal that have taken influences from various sources, and trying to create an own style, it's a great experiment, and might be enjoyable for the fans of noisy musickness. 

Inquisition - Ominous Doctrines of the Perpetual Mystical Macrocosm (2010)

   Inquisition became the essential part of the black metal elite with their genuine approach, that didn't follow strictly the traditional Norwegian scene like most bands did one decade earlier. They were more similar to more experimenting bands like Mayhem, who also built on complexity, intense sound and tried to represent some sort of upgraded concept, that could give a different aspect to blasphemic musical concept.

   In case of Inquisition it was a cosmic, more scientific approach of the essential evil that lurks somewhere in the dark unknown, and there's also the intention to find analogy and confirmation in the esotheric order and by it's observations. The music suits the lyrical concept well, and they make together a great unity. Inquisition might sound raw and monotonous for some, but there is a great diveristy to find in their music that's parallelly operating with heavy themes, simple but catchy melodies, atmosphere, and overwhelming intensity. Speed swithes are frequent, they often play very intense, but slow downs to middle speed are keep returning for long periods. The previous albums were more old school oriented and involved basic essential elements. These are returning during the middle speed themes in some form completed by melodic themes and atmospheric sound features. In general "Ominous Doctrines..." shows a way more diverse approach than before, embedded into great sound quality, while the music kept it's deeply obscure touch.

Gromm - Pilgrimage Amidst the Catacombs of Negativism (2009)

  Gromm was formed in 2001, when black metal was at its peak and broke into the mainstream by second wave bands such as Dimmu Borgir, Cradle of Filth or Naglfar. While this also meant an audience friendlier sound, better sound quality, mixed style and concept (hipsterization also), there was a more traditional direction that came as a counter-effect, and this also included raw black metal. Gromm's music could be sorted into this latest category.
   However, in Eastern Europe the border between the two directions wasn't so evident how it supposed to be. Even though by sound and concept many bands made clear that they isolating themselves from the new trends, another issue double-crossed (and keeps double-crossing) to similar bands to sound as vile, nihilistic and violent as they desire to be: and that's the limited skills of the musicians. This frequently returning issue in this region results that black metal bands can't even reach thrash metal intensity, and basically nothing confirms why they keep staying at middle tempo if atmosphere has restricted role in their music and they're definitely not into doom influenced themes. This usually leads to repetitiveness by basic themes and beats, and the album loses from its (dark) miraculous feeling track by track. The same happened with Gromm. Even though the sound and the concept are promising, the feeling that something's missing just keeps lurking around during the EP. For the fans of raw and traditional black metal it might be enjoyable though.

Darkened Nocturn Slaughtercult - Saldorian Spell (2009)

   Darkened Nocturn Slaughtercult became a cultic band with time as they kept going with their traditional style of black metal. Meanwhile other alternative experiments showed up in the scene (like in mostly all styles, after they've reached their final borders and can't show anything new, they getting mixed with other styles, turning more technical, progressive ect), but the band stayed at their compromiseless old school way. 
   Previously the band balanced between the traditional Norwegian style and the raw sound of black metal, and that's not different on "Saldorian Spell" either, that was already their 4th full-lenght album. The mix of the 2 directions is probably the most balanced on this album by switching between merciless hammering and catchy leading themes. The role of the atmosphere increased in their music after the first album and that kept back from the effectiveness of the unfriendly sound. On "Saldorian Spell" the atmosphere also cooperates on moderate level. That means there's no lack of rawness, but the album sounds kind of softer than "Follow the Calls for Battle" and still it sounds the most similar to the full-lenght debut. The most enjoyable part in the sound is probably the drums, that reminds to the intense style of old Mayhem. However, it's a style that hardly can disappoint, such as Darkened Nocturn Slaughtercult.

Black Pestilence - Vice (2009)

   It's nothing new that since the middle '90s the metal scene wasn't able to renew itself, or to form new styles. New styles still showed up though, but these were usually the simplified or dummy versions of something that was already made before; or the mix of different, already existing styles and genres were introduced as new styles. However it seems like limitless experimenting and avantgarde ambitions still could produce some pretty weird but impressing things. 
   Black Pestilence is a perfect example for that. Their  music could be described as something extraordiarily weird that's still working well somehow. On their debut they approached the traditional sound of black metal by involving punk and industrial-like noise influences. It's definitely one of the most unusal ways as possible. Their sound reminds to bands who tried to mix industrial with black metal, but while most of these tryings didn't end up well, Black Pestilence managed to create something genuine and unified. The embedded noise based intensity proved to work well to reflect the atmospheric tendencies of black metal, except it has quite raw touch and  it's not really emotion based. This twisted atmosphere is nothing more than a reference in this case, but it proved to be enough. The main impression is quite insane, but the blackened guitar themes ar able to create a frame to hold the chaos together. The returning simple punk beats having some simplifying effect, and also offering some catchy basic beats and themes to not let the whole thing to slip too far. Even though the band didn't seem to intend to follow any written or unwritten rules, or to keep any style limitations. They definitely pushed the envelope as much as they could, and by that they were able to create their own genuine characteristics.