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Lilith, a mysterious and enchanting figure in ancient mythology. According to some Hebrew mythology, Lilith was the first wife of Adam. However, she refused to be submissive to Adam and demanded equal rights. Finally, she left Adam and eventually became an evil goddess. She has become a symbol of sexual desire and the fight for equal rights, not only for women but for all humans. In this world, where good and evil seem antipathic, it's no wonder people worship this ancient shadow goddess. After all, equal rights seem available only for those who can afford it. Common religion has brought us no further than a 1% Garden of Eden and a 99% shadow world.
Anyway, enough about religion and politics. It's time to review an album by Finnish Lilithian black metal band Forgotten Horror. This band, founded by Tuomas Karhunen (Jess and the Ancient Ones, True Black Dawn, Deathchain) in 2004. In 2011 they released their debut and now they're back with the follow-up. Aeon Of The Shadow Goddess is an excellent, versatile black metal album, mostly inspired by the black/thrash scene of the nineties. This trio surely knows a little something about songwriting and shows stunning musical abilities.
The album opens with 'The Adept', which functions as an intro and a first assault of ferocious riffs
and blastbeats. Within all the power and the bombastic sound, Forgotten Horror never seems to lose track of melody and atmosphere. As with most black metal albums, the overall atmosphere is grim and dark but somehow these Fins have managed to give the whole a positive feel, a lot less bleak and depressive than many other bands do. Maybe it's because of the highly effective use of keyboards or because of the awesome riffs, similar to the musical genius of a band like Moonspell.
'Behold A Shadow Goddess' reminds me of old Covenant (who later changed their name to The Kovenant) and at times of old Dimmu Borgir or old Immortal. The world 'old' is quite important. It shows a stage in these band's carreers where they were about to break through and play in front of vast audiences all over the world. This album has the same sound: raw, unpolished, straight-in-your-face but incorporating a tremendous amount of melody and arrangements. Not yet ready for the mainstream metal scene but definitely something to check out.
In my favourite track '... Of Mans First Rebellion' I'm suddenly reminded of Machine Head, probably because of a certain riff that is quite similar to one in 'Davidian'. That shouldn't be a problem by the way because Forgotten Horror creates something awesome with it. Every song is a tribute to both Lilith and the inexhaustible variety of the black metal scene. There's even some great NWOBHM influences present, which makes this album sound a lot warmer and comfortable than most black metal albums these days.
Yet, don't get me wrong, there's still some sheer brutality and some musical madness going on. The listener will be treated to pounding drums, shrieking vocals and punishing guitars and entire
audiences will be able to headbang themselves into a perverted state of trance. This clearly is
something that will please fans of old (yes, there's that word again) Cradle Of Filth by using a
similar amount of tempo changes, highly melodic passages and often ethereal female vocals and
effectively alternating them with crusing power.
Somewhere in the Shadow World, Lilith might be listening to this album and I'm sure she will be
pleased. Aeon Of The Shadow Goddess is a great black metal album with a lot of variety, more than enough to keep the listener interested for 45 minutes. It's also a welcome change from the dominating new wave of hardcore influenced black metal these days. Forgotten Horror brings us back to the old era, which I love every minute of.
Serge
Anyway, enough about religion and politics. It's time to review an album by Finnish Lilithian black metal band Forgotten Horror. This band, founded by Tuomas Karhunen (Jess and the Ancient Ones, True Black Dawn, Deathchain) in 2004. In 2011 they released their debut and now they're back with the follow-up. Aeon Of The Shadow Goddess is an excellent, versatile black metal album, mostly inspired by the black/thrash scene of the nineties. This trio surely knows a little something about songwriting and shows stunning musical abilities.
The album opens with 'The Adept', which functions as an intro and a first assault of ferocious riffs
and blastbeats. Within all the power and the bombastic sound, Forgotten Horror never seems to lose track of melody and atmosphere. As with most black metal albums, the overall atmosphere is grim and dark but somehow these Fins have managed to give the whole a positive feel, a lot less bleak and depressive than many other bands do. Maybe it's because of the highly effective use of keyboards or because of the awesome riffs, similar to the musical genius of a band like Moonspell.
'Behold A Shadow Goddess' reminds me of old Covenant (who later changed their name to The Kovenant) and at times of old Dimmu Borgir or old Immortal. The world 'old' is quite important. It shows a stage in these band's carreers where they were about to break through and play in front of vast audiences all over the world. This album has the same sound: raw, unpolished, straight-in-your-face but incorporating a tremendous amount of melody and arrangements. Not yet ready for the mainstream metal scene but definitely something to check out.
In my favourite track '... Of Mans First Rebellion' I'm suddenly reminded of Machine Head, probably because of a certain riff that is quite similar to one in 'Davidian'. That shouldn't be a problem by the way because Forgotten Horror creates something awesome with it. Every song is a tribute to both Lilith and the inexhaustible variety of the black metal scene. There's even some great NWOBHM influences present, which makes this album sound a lot warmer and comfortable than most black metal albums these days.
Yet, don't get me wrong, there's still some sheer brutality and some musical madness going on. The listener will be treated to pounding drums, shrieking vocals and punishing guitars and entire
audiences will be able to headbang themselves into a perverted state of trance. This clearly is
something that will please fans of old (yes, there's that word again) Cradle Of Filth by using a
similar amount of tempo changes, highly melodic passages and often ethereal female vocals and
effectively alternating them with crusing power.
Somewhere in the Shadow World, Lilith might be listening to this album and I'm sure she will be
pleased. Aeon Of The Shadow Goddess is a great black metal album with a lot of variety, more than enough to keep the listener interested for 45 minutes. It's also a welcome change from the dominating new wave of hardcore influenced black metal these days. Forgotten Horror brings us back to the old era, which I love every minute of.
Serge
