Review by John B. on January 2, 2024.

Good lord, nothing here I would give less than four stars! This epitomizes quality over quantity with a massive 72 minute ride down the warpath spread over only ten songs.

The opener, "Different World", is the album's best proof of Dickinson's durability. He proves his voice is still marvelously powerful even after 10 Iron Maiden records across three decades. Lyrically, it is a regrettably standard rock/metal ode to doing your own thing and "everybody has a different way to view the world" - who cares? But the song is redeemed and then some by Smith's fairly short, yet blistering solo.

Lyrically and melodically, the highlight here is the almost 9 minute masterpiece "Brighter Than a Thousand Suns". You'd be hard pressed in my mind to challenge its candidacy for heavy metal song #1 of the 2000s. The soft vocal intro with slowly building guitar intensity keeps you on the edge of your seat and knocks you right out as Bruce belts out "we will feel the pain of his beginning". This coupled with the first electrification of the simple, yet menacing main riff is brilliant. Much has been sung about atomic war, but little compares to 1000 Suns.

Assuming the listener is not too closed-minded about McBrain's Christianity, "The Pilgrim" comes in as a close second best on this disc. The lyrics are deeply spiritual as all meaningful metal should be (whether you carry or invert your crucifix, the theme of spiritual crisis should strike a chord). As the instruments go, "The Pilgrim" has Nicko's most proficient drum rhythm that you can't help playing along to as well as a subtle, yet unshakable Middle Eastern vibe that matches its psalm-like words.

The back five songs, aside from "Out of the Shadows", follow the example of tracks 2 and 3: long with a soft, dark, mood-building intro verse (or two verses, or two minutes). "The Longest Day" is the bloodiest track here. Its slow, slogging opening perfectly suits its theme of Allied soldiers dragging themselves up over the daunting fortifications of Hitler's Norman Coast. There follows the relatively shorter "Out of the Shadows", whose strange mystical lyrics all wouldn't be out of place on one of Maiden's late-'80s albums (this is not to say that it's out of place here).

As mentioned, tracks 7-10 are more similar to 2, 3 and 5, in both length and in structure. They all feature Iron Maiden's patented slow buildup and my favourite trademark of theirs, the instrumental rhythm solo (see also Metal Church for a band who does that well). Of course, do not skip the lead solo in "Lord of Light". It weaves and winds its way through tastefully used distortion to create a feeling of being pulled down a spiral staircase to the abyss.

I must admit, when I saw the last song was called "The Legacy" I worried that they were hinting this would be their last song ever. And it would have been going out on a good note as the solid main riff rolls down on you like an avalanche. Last, but not least, "The Legacy" features the highlight of Steve Harris' bass work on this record. Not since Trouble's classic "Endtime" back in '84 has anyone used the bass to introduce, then mirror the guitar line so effectively. Dang, it's crushing when that's done right!

As of now, this is the only album to earn an absolute perfect score from me. Listen to it - it's a matter of life and death!

Rating: 10 out of 10

Review by John B. on January 2, 2024.

Good lord, nothing here I would give less than four stars! This epitomizes quality over quantity with a massive 72 minute ride down the warpath spread over only ten songs.

The opener, "Different World", is the album's best proof of Dickinson's durability. He proves his voice is still marvelously powerful even after 10 Iron Maiden records across three decades. Lyrically, it is a regrettably standard rock/metal ode to doing your own thing and "everybody has a different way to view the world" - who cares? But the song is redeemed and then some by Smith's fairly short, yet blistering solo.

Lyrically and melodically, the highlight here is the almost 9 minute masterpiece "Brighter Than a Thousand Suns". You'd be hard pressed in my mind to challenge its candidacy for heavy metal song #1 of the 2000s. The soft vocal intro with slowly building guitar intensity keeps you on the edge of your seat and knocks you right out as Bruce belts out "we will feel the pain of his beginning". This coupled with the first electrification of the simple, yet menacing main riff is brilliant. Much has been sung about atomic war, but little compares to 1000 Suns.

Assuming the listener is not too closed-minded about McBrain's Christianity, "The Pilgrim" comes in as a close second best on this disc. The lyrics are deeply spiritual as all meaningful metal should be (whether you carry or invert your crucifix, the theme of spiritual crisis should strike a chord). As the instruments go, "The Pilgrim" has Nicko's most proficient drum rhythm that you can't help playing along to as well as a subtle, yet unshakable Middle Eastern vibe that matches its psalm-like words.

The back five songs, aside from "Out of the Shadows", follow the example of tracks 2 and 3: long with a soft, dark, mood-building intro verse (or two verses, or two minutes). "The Longest Day" is the bloodiest track here. Its slow, slogging opening perfectly suits its theme of Allied soldiers dragging themselves up over the daunting fortifications of Hitler's Norman Coast. There follows the relatively shorter "Out of the Shadows", whose strange mystical lyrics all wouldn't be out of place on one of Maiden's late-'80s albums (this is not to say that it's out of place here).

As mentioned, tracks 7-10 are more similar to 2, 3 and 5, in both length and in structure. They all feature Iron Maiden's patented slow buildup and my favourite trademark of theirs, the instrumental rhythm solo (see also Metal Church for a band who does that well). Of course, do not skip the lead solo in "Lord of Light". It weaves and winds its way through tastefully used distortion to create a feeling of being pulled down a spiral staircase to the abyss.

I must admit, when I saw the last song was called "The Legacy" I worried that they were hinting this would be their last song ever. And it would have been going out on a good note as the solid main riff rolls down on you like an avalanche. Last, but not least, "The Legacy" features the highlight of Steve Harris' bass work on this record. Not since Trouble's classic "Endtime" back in '84 has anyone used the bass to introduce, then mirror the guitar line so effectively. Dang, it's crushing when that's done right!

As of now, this is the only album to earn an absolute perfect score from me. Listen to it - it's a matter of life and death!

Rating: 10 out of 10

Review by Jack on October 11, 2001.

“Borknagar” is a damn fine and ultra-slick black metal debut, in anyone’s standards. If Emperor could have released a debut that displayed such musicianship as this... well they would be happier than they are now.

Despite “Borknagar” being reviewed 5-6 years later than its original release date, Borknagar’s debut album still packs quite a few punches that the unexpected black enthusiast might find quite thrilling.

Being a 5-6 year old album, one would expect pretty murky and muddy production values, well I would expect it anyway. However, the truth with “Borknagar” is that the production is fine for such a vintage classic. Every instrument can be heard clearly and Garm’s Ahhhhh’s!!! shines through admirably.

A point relating to Garm’s Ahhhhh’s, Borknagar were not only one of the first bands to use clean vocals in black metal, they were one of the first bands to effectively use clean vocals in black metal. ‘Dauden’ is shining example of how the cleanliness of the voice should be utilised in a black record. ‘Krigsstev’ is also a more black and white example of Ahhhhh (all Garm does in that track is ‘Ahhhhh’).

Ten tracks on “Borknagar” are interspersed so fantastically that it follows the format of rather complicated poem. Once you’ve had enough of one heavy, speed black tune along comes a lovely acoustic interlude that you can sway along in the breeze in, “Borknagar” shifts so seamlessly between movements that is a joy to be part of.

Bottom Line: Well if you are a Borknagar fanatic and fan who must own everything Borknagar has done, then their self titled album is for you. There are a lot of elements on “Borknagar” you will not find on their newer releases, the brilliant instrumental pieces and brutal speed black metal, which subsided into the atmosphere with “The Archaic Course”. Ahhhhhh!

Rating: 7.5 out of 10

Review by John B. on January 2, 2024.

Good lord, nothing here I would give less than four stars! This epitomizes quality over quantity with a massive 72 minute ride down the warpath spread over only ten songs.

The opener, "Different World", is the album's best proof of Dickinson's durability. He proves his voice is still marvelously powerful even after 10 Iron Maiden records across three decades. Lyrically, it is a regrettably standard rock/metal ode to doing your own thing and "everybody has a different way to view the world" - who cares? But the song is redeemed and then some by Smith's fairly short, yet blistering solo.

Lyrically and melodically, the highlight here is the almost 9 minute masterpiece "Brighter Than a Thousand Suns". You'd be hard pressed in my mind to challenge its candidacy for heavy metal song #1 of the 2000s. The soft vocal intro with slowly building guitar intensity keeps you on the edge of your seat and knocks you right out as Bruce belts out "we will feel the pain of his beginning". This coupled with the first electrification of the simple, yet menacing main riff is brilliant. Much has been sung about atomic war, but little compares to 1000 Suns.

Assuming the listener is not too closed-minded about McBrain's Christianity, "The Pilgrim" comes in as a close second best on this disc. The lyrics are deeply spiritual as all meaningful metal should be (whether you carry or invert your crucifix, the theme of spiritual crisis should strike a chord). As the instruments go, "The Pilgrim" has Nicko's most proficient drum rhythm that you can't help playing along to as well as a subtle, yet unshakable Middle Eastern vibe that matches its psalm-like words.

The back five songs, aside from "Out of the Shadows", follow the example of tracks 2 and 3: long with a soft, dark, mood-building intro verse (or two verses, or two minutes). "The Longest Day" is the bloodiest track here. Its slow, slogging opening perfectly suits its theme of Allied soldiers dragging themselves up over the daunting fortifications of Hitler's Norman Coast. There follows the relatively shorter "Out of the Shadows", whose strange mystical lyrics all wouldn't be out of place on one of Maiden's late-'80s albums (this is not to say that it's out of place here).

As mentioned, tracks 7-10 are more similar to 2, 3 and 5, in both length and in structure. They all feature Iron Maiden's patented slow buildup and my favourite trademark of theirs, the instrumental rhythm solo (see also Metal Church for a band who does that well). Of course, do not skip the lead solo in "Lord of Light". It weaves and winds its way through tastefully used distortion to create a feeling of being pulled down a spiral staircase to the abyss.

I must admit, when I saw the last song was called "The Legacy" I worried that they were hinting this would be their last song ever. And it would have been going out on a good note as the solid main riff rolls down on you like an avalanche. Last, but not least, "The Legacy" features the highlight of Steve Harris' bass work on this record. Not since Trouble's classic "Endtime" back in '84 has anyone used the bass to introduce, then mirror the guitar line so effectively. Dang, it's crushing when that's done right!

As of now, this is the only album to earn an absolute perfect score from me. Listen to it - it's a matter of life and death!

Rating: 10 out of 10

Review by Jack on October 11, 2001.

“Borknagar” is a damn fine and ultra-slick black metal debut, in anyone’s standards. If Emperor could have released a debut that displayed such musicianship as this... well they would be happier than they are now.

Despite “Borknagar” being reviewed 5-6 years later than its original release date, Borknagar’s debut album still packs quite a few punches that the unexpected black enthusiast might find quite thrilling.

Being a 5-6 year old album, one would expect pretty murky and muddy production values, well I would expect it anyway. However, the truth with “Borknagar” is that the production is fine for such a vintage classic. Every instrument can be heard clearly and Garm’s Ahhhhh’s!!! shines through admirably.

A point relating to Garm’s Ahhhhh’s, Borknagar were not only one of the first bands to use clean vocals in black metal, they were one of the first bands to effectively use clean vocals in black metal. ‘Dauden’ is shining example of how the cleanliness of the voice should be utilised in a black record. ‘Krigsstev’ is also a more black and white example of Ahhhhh (all Garm does in that track is ‘Ahhhhh’).

Ten tracks on “Borknagar” are interspersed so fantastically that it follows the format of rather complicated poem. Once you’ve had enough of one heavy, speed black tune along comes a lovely acoustic interlude that you can sway along in the breeze in, “Borknagar” shifts so seamlessly between movements that is a joy to be part of.

Bottom Line: Well if you are a Borknagar fanatic and fan who must own everything Borknagar has done, then their self titled album is for you. There are a lot of elements on “Borknagar” you will not find on their newer releases, the brilliant instrumental pieces and brutal speed black metal, which subsided into the atmosphere with “The Archaic Course”. Ahhhhhh!

Rating: 7.5 out of 10

Review by Lawrence Stillman on January 1, 2024.

Another trip down memory lane, another story time: I used to be this kid high on depression due to having autism and girls being able to see them from a mile away, so as a result I was bullied... a lot. And one day I heard that DSBM is an actual genre and decided to get some depressive therapy and suicide fuel, and Prison of Mirrors was the first result. The One Man Metal documentary also helped me get into DSBM.

They say that the most creative works come from the most demented minds, and I agree with this when it comes to Xasthur. Malefic is known to be a really misanthropic individual, and it shows, as no one personifies their lyrics about isolation and despair like him. His music is truly one of a kind, endless walls of guitars and mournful keyboards, topped off by drawn out, pained screams that sound nothing like Nattramn or Kim Carlsson.

I've always said that DSBM is not this mythical genre of evil where they can persuade someone into self-harm or suicide (despite being in the name), but instead it is a really versatile genre where it can serve as a therapy for sorrowful souls, or be the musical equivalent of white noise to meditate yourself to. It is because of this reason that at one point in high school I listened to nothing but DSBM, hoping the despair-inducing wall of noise could finally coax myself to end my life, but I did not. Subliminal Genocide shows this very well, in fact it might be one of the best DSBM records precisely due to this reason, while keeping the usual DSBM characteristics like long, drawn out and droning riffs, Xasthur also incorporated some diversity in this album, making every song feel different and familiar simultaneously.

The album begins with a dark ambient-y synth intro before transitioning into Prison of Mirrors, this song immediately blasts you with the signature wall of guitars that Xasthur is known for that sucks out every bit of happiness you feel, forcing you to listen to this album with the intended mood that Malefic had in mind. This kind of composition is honestly genius, making the listener listen to your album on your own terms. I don't know how many albums utilize this technique, but holy shit is it rare and very satisfying when you hear an album that does this.

The songwriting here is similar to most DSBM projects (or one man DSBM but I have never heard of another DSBM project where more than one man handles the instruments, besides Lifelover), a drawn out riff that spans the entire song regardless of song length, and simple, droning drums that you swear are done by a machine due to how simple they are. The entire thing mixes clean keyboard/ambient parts and harsh guitar walls, the duality of these parts makes both sound more distinct thanks to the contrasting, enhancing the atmosphere and emotion of misanthropy and despair in the music. Everything is covered in a layer of noise to make sure it blurs out the instruments just enough to create this dreadful and depressing soundscape and make the simple droning riffs hit harder than they are supposed to be.

The vocals and lyrics here are absolutely unhinged and demented, and as I mentioned at the top of the review, Malefic is pretty demented himself when it comes to world views and approach to music. His vocals have this raw and unfiltered misanthropy and hatred that is unmatched by any other DSBM project, with the closest equivalent being Dragged Into Sunlight, but both kinds of misanthropy are in very different spectrums so the context and meaning differs greatly between both projects. It is very oppressive, suffocating, and the negativity within can pierce the listening device and driven straight into the listener, and the production seems to support this, as the vocals are pushed to the very front, making sure the vocals will be as loud and powerful as the listening device allows it, while the instruments are mere backing pieces to this misanthropy exhibition. As for the lyrics, well, just read this line from Prison of Mirrors:

You are all... all that you hate,
Force fed memories, suffer humiliation,
Victim of darkness, of the inner hidden kind,
I am the eye within the gleam,
Shatter before a mirror that stares into (a shallow soul).

Damn, this really hit hard when I first read it, it perfectly encapsulates what self-loathing is like: hating every aspect of yourself, and being willing to do everything to make yourself to never resemble who you are now, even if it means taking your own life. Maybe Malefic had similar experiences that led him to create this uniquely dark and depressing piece of work to express his Hatred For Mankind (get it?).

I firmly believe that every genre exists for a reason, and no matter how small it is, there will be a crowd for that genre. DSBM is no different, it is a music for those with miserable souls, or are in miserable circumstances. And if you are among those people, this album might be just for you, and hope you will get a better life, be it in the future, or in the next life.

Damn I was such a wuss... At least until I snapped (read the Holy Grail review for context).

Highlight: 'The Prison of Mirrors', 'Trauma Will Always Linger', 'Malice Hidden In Surrealism'

Rating: 10 out of 10

Review by Frost on December 3, 2021.

Depressive Suicidal Black Metal (or DSBM for short) is certainly a genre that took me a long time to grasp. It's cold, isolationist, and introverted nature was a huge leap from what I had come to expect having a bit of experience with black metal as a genre and its representation within the metal world. While black metal itself is tapered to draw in some of the craziest people whose beliefs can be about as extreme as you can get, DSBM also tends to lure in a very specific group of people. It draws in withdrawn, sad, hurting, creative individuals. I say individuals because most bands within the genre are usually administrated by just one person. Occasionally there may be session musicians hired here and there to provide more instrumentation or help provide a conduit for expanding the atmosphere, though, 90% of the time, one person is handling every single aspect of the production of their band.

Silencer was my first exposure to the sub-genre, but because I was so new to black metal at the time, I immediately discarded it as unlistenable dreck. I never looked back for a long time. I remained content with my Mayhem, my Emperor, and my Darkthrone. Very safe havens for a newbie like me who was too afraid to branch out into this new world of depression and sadness brandished like a serrated knife to the flesh, whet with the desire to shed its own blood instead of mine. Some years later, I grew experienced enough to take the plunge into the gloomy world of DSBM. Funnily enough, my ongoing battle with anxiety and depression fuel my appreciation for these sad, morbid melodies.

Xasthur is one such band that I grew to appreciate. The now defunct one-man band formerly headed by Malefic (a.k.a. Scott Conner) lured me in with this album. At the time, which was maybe ten months ago, I couldn't resist the allure to actually own a physical version of something like this in my music collection. I snatched it up at one of the record stores I frequent and put it on my music player immediately. I already knew what to expect as bands like Make A Change... Kill Yourself, Fornicatus, Shining, Happy Days, Thy Light, Strid, along with the aforementioned Silencer just a name a few, had already firmly established in my memory their buzzing riffs, fuzzy production, and soul tormenting vocals as something to use as a benchmark going forward with this band.

Safe to say I was not disappointed. In fact, I was quite impressed. Subliminal Genocide is just as ugly, blighted, and woe begotten as the artwork that adorns the front of the CD case. The songs within, all eleven of them, are all equally tortured anthems to despondency, isolation, depression, and pure unadulterated contempt for everything that draws breath. There is no light at the end of this tunnel. A moment of respite, nor a brief glimmer of sunshine can't hope to be found as songs like 'The Prison Of Mirrors' and 'Arcane And Misanthropic Projections' work their mastery in convincing the listener the best way to achieve any solace from the pain is to, well, you know. Definitely the listener won't be feeling very good as soon as the album begins with a sinister piano melody that channels directly from the most bottomless abyss not of this world, nor of any other world beyond the reaches of Malefic's twisted genius of an imagination; and by the time the album closes, that void will have already consumed the listener whole in otherworldly sorrows.

As far as the instruments go, everything is covered in fuzz. Like with Leviathan, drums are handled with an electronic drum kit with certain parts being programmed. The guitar riffs on this album are incredibly minimal and repetitive. In fact, there's only a small handful of structures that make up the guitar compositions. They're repetitive to the point of being unlistenable but, honestly, that's the point. The riffs Xasthur creates are memorable and, in a sense, put you in a trance. To the ear not tempered for black metal already, these riffs will feel noisy, grating, unapproachable, and unlistenable. However, they're quite the opposite to someone deeply entrenched and well-versed in the genre. These riffs are insanely memorable and are composed with careful precision. The bass is obviously buried behind the foggy production and the guitars that are can be a little loud here and there. That's something that's common with metal as a whole, though. Here is no different. Malefic's vocals are, without a doubt, the loudest and most powerful force here. They are deliberately so pushed to the fore. Utterly suffocating. Dripping with malice. Seething with hatred. Unmasked disgust. They are raw, powerful, and punishing, seemingly sounding as if Malefic is screaming directly at the listener through the speakers (or through headphones).

The absolute best songs aren't hard to accidentally stumble across, in my opinion. 'The Prison Of Mirrors', 'Trauma Will Always Linger', the title track, and the closer, 'Malice Hidden In Surrealism', stand out as the gems here. Every song is good and worth your time. These four, however, are the ones I'd choose as the best songs to best represent this album and, probably, Xasthur itself. I know there's far more of this band to explore and just these four songs are probably not the best representations of what others might consider the absolute best this band has to offer. Besides, there are dozens of songs of Xasthur scattered out there among his discography. There might be ones better than these four or any of the ones I didn't mention on Subliminal Genocide. Who knows? I'm new to this band's work as a listener. I've got more digging to do.

While metal isn't for everyone, almost every genre of metal, even black metal, has something made for someone. DSBM is made for no one. It's a creation made by the broken, the isolated, the lonely, the wistful thinker, the contemplative soul, the tortured artist who makes art only they can enjoy, served cold on a plate formed of the shattered pieces of what used to be their own dreams and aspirations, to themselves. However, even the blackest, most oppressive art can be found beautiful, and even welcoming to kindred spirits. Xasthur accomplishes this task by making art that appeals to me. This album speaks to me in my darkest hours. When I'm feeling shitty, when the world is on my shoulders and I feel like giving up, when I feel like nobody hears me, when I feel like there's nothing that sounds or feels the way I feel, all I have to do is turn on this album and I feel better. Or worse. It all depends. It's just good to know somewhere out there in this dark, dead world, there's someone who can put exactly how I feel into song, regardless of if I'm the only other one who can stomach its sound.

You know what? I wouldn't have it any other way.

Favorite tracks:
'The Prison Of Mirrors'
'Trauma Will Always Linger'
'Subliminal Genocide'
'Malice Hidden In Surrealism'

Rating: 9 out of 10