black metal
With eight tracks – Intro, Rise of the Immortals, Draut Gaddur, Isildur’s Bane, The Ban of Wisdom, Proud & Feeble Men, Dark Skies of Black Times and Rage in the Night –, Gamardh is a thoroughly majestic, sensorial and splendorous album, a little discreet at the height of its artistic primacy, although its primary order is driven by old school black metal.
With powerful guitar lines, and an emotional sonorous overtone that aggrandizes the most furious principles of the genre, Khazad-Dum is driven by a wrathful display of traditional elements, highlighted by rapid and exceedingly fast melodies, reminiscent of what conventional BM has at its best; nonetheless, the group incorporates monumental symphonic elements that are perfectly correlated with the most brutal passages of the album.
Despite the fact that you will not find in Garmadh absolutely anything new, the album has great melodies, and an interesting degree of originality, that merges to its music some elements of hard rock, traditional heavy metal and power metal as well, although the general layer of the music seems to be always near the furious ordeal of raw black metal. With a fewer exceptions, the songs on the album are short to average in length, and the experimental elements that consecrated to the group’s music a more vintage sound defies a precise definition, since they evidently play a very peculiar, almost personal subgenre of metal, sometimes closely inspired to hard and southern rock.
I haven’t found Garmadh to be a monumental or phenomenal album, but definitely, this record can be defined as impressively good. An exceedingly curious and pleasant work, that deserves extreme attention and study, given the audacious nature of their sublime and unpredictable creativity, that is as close and as distant to traditional black metal as a band can be at the same time, Garmadh is an amazing album, highly recommended to raw black metal enthusiasts, although they will be certainly impressed by the unprecedented level of intricate authenticity present on Khazad-Dum’s radically expressive style, that intensely dilacerates, and strongly maintains intact all the traditional precepts of the genre, at the same time.
Wagner
With powerful guitar lines, and an emotional sonorous overtone that aggrandizes the most furious principles of the genre, Khazad-Dum is driven by a wrathful display of traditional elements, highlighted by rapid and exceedingly fast melodies, reminiscent of what conventional BM has at its best; nonetheless, the group incorporates monumental symphonic elements that are perfectly correlated with the most brutal passages of the album.
Despite the fact that you will not find in Garmadh absolutely anything new, the album has great melodies, and an interesting degree of originality, that merges to its music some elements of hard rock, traditional heavy metal and power metal as well, although the general layer of the music seems to be always near the furious ordeal of raw black metal. With a fewer exceptions, the songs on the album are short to average in length, and the experimental elements that consecrated to the group’s music a more vintage sound defies a precise definition, since they evidently play a very peculiar, almost personal subgenre of metal, sometimes closely inspired to hard and southern rock.
I haven’t found Garmadh to be a monumental or phenomenal album, but definitely, this record can be defined as impressively good. An exceedingly curious and pleasant work, that deserves extreme attention and study, given the audacious nature of their sublime and unpredictable creativity, that is as close and as distant to traditional black metal as a band can be at the same time, Garmadh is an amazing album, highly recommended to raw black metal enthusiasts, although they will be certainly impressed by the unprecedented level of intricate authenticity present on Khazad-Dum’s radically expressive style, that intensely dilacerates, and strongly maintains intact all the traditional precepts of the genre, at the same time.
Wagner
