Darkest Grove is a one-member black metal entity, who started doing this in 2000. Devoid Being a.k.a. Mac Criunna is the owner of Forever Plagued Records label from Philadelphia, USA. After releasing a demo in 2002 and a full-length album in 2006, the sophomore album 'Coming of 2012' came out before the world was "supposed" to end. Which was in December 2012 according to Mayan beliefs. But no, the end of humanity didn't happen, but instead we keep on fucking up each other and the planet we live on. Lovely.

'Coming of 2012' is a philosophical look at the 2012 mythos, and here many forms of the end and beyond it are visualized. Mankind has always been good at destroying itself, other species, and the planet we live on. But alas, the lyrics aren't available but probably on the original press. The album comes in a digipak with spot gloss printing to furthermore boost the artwork, which was painted by Zecharia Sitchin, who wrote books about mankind's alien roots and planet Nibiru. Supposedly, it was the home planet of Anunnaki, which people of the ancient Sumerian culture believed were our ancestors that travelled to Earth and "created" us. But no more about that stuff here, so please go on and read about it in the net, it's highly interesting stuff if you ask me.

The music of Darkest Grove has a basis in black metal, and it is very Scandinavian sounding. The opener 'Hatred Strives...' explodes from speakers and attacks with spears raised, with driving fast double bass drum and blast assaults, ripping tremolo riffing, and hateful vocals, before slowing at times to hammer in nails with wrath. Still, this short song includes the first manifestation of peculiarity; when the rhythm guitar is accompanied by rather oddball lead guitar work, a listener is hinted of things to come. In a way... However, another fast and vicious Norsecore track follows, even though its guitar harmonics are kind of melancholic.

While the previous two songs already contain catchy riffs and even melodiousness, it is 'Destiny' that takes a turn into slower and more sullen presentation, and thus more memorable, especially thanks to that high-pitched, eerie guitar melody that reminds of old Paradise Lost (well, it is thoroughly English in its essence). I do not know about you, but I have noticed that often when the term "philosophical" is mentioned, music has more or less of an avant-gardish tinge. That is certainly true in this case. These various avant-garde elements start to appear on instrumental song 'Visions of an Apocalypse'. It contains both, ambient non-distorted guitar and tremolo black metal guitar playing, with bass guitar. The song is devoid (no pun intended) of any drums, which makes the song a bit incomplete and quite weird. But it turns weirder, as it ends with 1950s style sci-fi movie soundtrack style! 'Ready to Kill' is filled with hatred and pain, and it has certain kind of thrash metal feel to it, because of Tom Araya (Slayer) style vocals. The song's velocity fluctuates from blasting to mid-paced, containing many parts, even Slayer-ish guitar solos. Fantastic and eerie melodies on 'Alone Eternal: Part II' and King Diamond-ish vocals bits elevate the gloomy atmosphere further.

'Return of the Moon Children' is a true monolith with its near 26-minute duration. Here, Darkest Grove's Philip Glass (and similar composers) influence really comes forth. The song varies from ambient synthesizer parts to black metal stuff, and everything between them (e.g. acoustic guitars and church organs). It's not a repeating composition, but somewhat disjointed because of its many movements. However, there's another good part after the other. It is a truly avant-garde trip. 'The Day the World Ends' is another vehement black metal assault before the melodic guitar/synthesizer outro.

The vocals are really versatile. Mainly it's about spiteful yet agonized, throat-lacerating shrieking. Sometimes it shifts towards growling. Then there is that Araya mimicry. 'Return of the Moon Children' includes some spoken hissing vocalization. Most of them are conceivable. Devoid Being handles all the instruments well. Everything is mutable, whether it is guitar riffs and solos, drum comping, or keyboard work. He also plays drums in Blood Storm, and we are talking about a multitalented guy here. The production job is filled with feelings (cold, hatred, otherworldly etc.) and closely follows the black metal traditions. While it is metallic and cold, it also packs quite a bit of punch. Anything isn't very reverberating nor cavernous. The instruments can sound organic and warm, but also chilly and perilous.

In its entirety 'Coming of 2012' is a varying album. It contains a multitude of memorable riffs and melodies. It's not a perfect album. I find 'Visions of an Apocalypse' as an incomplete song without the drums. This is not avant-gardish just for the sake of being "weird" and "different", but there is a real artistic vision and conceits to back it up. If you enjoy listening to US acts such as Leviathan and Xasthur, and Scandinavian stuff like Horna and Ulver, then there is no reason to skip Darkest Grove!

Rating: 7½ (out of 10) ratings explained

Reviewed by Lane
03/18/2014 16:53