Orcrypt – Mercenaries of Mordor (2015)

mercenaries of mordor
Here’s another recording released by Iron Pegasus Records. Like yesterday’s Eurynomos, it occupies that strange liminal space between traditional heavy metal and black metal, although the existence of two such albums in quick succession sometimes leads me to believe that it’s larger than previously suspected. However, if Eye of the Pantheon was at home in 1984 or so, Mercenaries of Mordor is more reminiscent of the early 1990s, although its ancestry is more obvious than the actual recordings of that era. It also labels itself “Pure Goblin Black Metal” for what are presumably marketing purposes, but people looking for a new Summoning in Orcrypt are going to find something more conventional by far.

On Mercenaries of Mordor, Orcrypt desperately claws for atmosphere and ambiance and creates songs of long drones stapled together by sampled audio (shamelessly ripped from the Ralph Bakshi adaptation of Lord of the Rings) and a great deal of guitar leads. It’s often reminiscent of of the blastier bands in the genre, but since the drumming and songwriting is generally of a middling pace, the rhythmic texture of the album ends up spacious in a way that deemphasizes the percussion. Besides the Bakshi, though, everything here has frequently been done. Orcrypt’s strength here is that they manage to pull a mixture of techniques and aesthetic adornishments from the air in a relatively organic way. Part of this is a pseudo-lofi production that is crystal clear (even the bassist is audible and prominent) despite its attempts to sound like garbage. It does, however, give them a strong foundation on which to build songs and make something valuable, but their dedication to that is spotty at best, mostly due to the emphasis on drone with limited elaboration outside the sound effects.

Ultimately, this is a proficient but not particularly interesting record, especially since it exists in a context of bands that have done what it does more effectively. I feel like a lot of the problems here are explained by the marketing material. The record label’s site claims that the band “…plays in the tradition of the early 90s underground, before Black Metal became popular,” and generally cites the earlier, more prototypical works of bands like Burzum and Emperor as influences as opposed to their more refined peaks. From a stance of rawness, that’s all fine and well, but it generally does more for you to imitate your idols’ heights rather than their rises. However, Orcrypt would have to go beyond merely imitating either of these to become particularly valuable as more than a quick shot of nostalgia.

 

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Orcrypt Mercenaries of Mordor (2015)

orcrypt_-_mercenaries_of_mordor

This style is emerging as the new front for underground metal: a Paradise Lost-style lead rhythm melody laced doom metal as if played by a war metal band at death-doom paces. This takes last season’s favorite, the Incantation-derived “cavern metal” band, and adds to it melody and more distinctive traditional riffing, but keeps the same morbid subterranean atmosphere.

Orcrypt add to this formula that ability to wield classic, catchy choruses in the style of Pyogenesis or later Sodom, so that like war metal songs rumble through a series of riffs and then break into a clarity that resembles the moment on Pink Floyd album when storyline and music united. This is done within a riff vocabulary that would fit alongside later Emperor, early Mayhem, Revenge, Blasphemy and Order from Chaos. The result avoids the off/on hard/soft approach of bands from Pantera through nu-metal, and instead works up to the catchy choruses with embedded melodic rhythm leads among the surly and rapacious war metal/black metal riffing. This creates a haunting anticipation that flowers in the choruses, which are less frequent than with purely verse-chorus bands.

Pacing follows that of a doom-death band: breaking from slow to fast, to return to a mid-paced option that leads into the slow. This perpetuates the dark ambiance and enriches it with a sense of internal motivation. Orcrypt know how to remove everything but the essential in songs and then later, where it has no negative impact, work back in noisy leads and vocal accents. The result is both dark underground and has the power of traditional heavy metal.

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