As broad a genre as Metal is each and every new avenue explored is often met with ridicule and disgust, it really is a wonder how we have come to have so many genres today. Speaking of modern times this pent up aggression still exists, just look at Metalcore or Deathcore for prime examples of hated genres in the underground. Yet who is to say we won’t look back upon them many years later and accept them just as the scene has done for Death or Black Metal. It’s an interesting thing to think about and having recently found myself enjoying some Deathcore once again I find it all the more intriguing.
Broadening those horizons further and perhaps bastardizing Black Metal for the kvlt and elite come Joyless Euphoria from Vienna, Austria. These dare I say experimentalists have found themselves niched into the realm of Post-Black Metal which in itself is a frightfully expansive genre taking in influence from a whole host of other sub-genres. When I think of Post-Black Metal I tend to be drawn towards Alcest or Deafheaven both of which can find themselves facing criticism from the underground but equally both have proved popular with a wider audience. Coming back to Joyless Euphoria the band formed in 2016 before releasing their self-titled debut in 2017. Now two years later we welcome Dreaming In Ultraviolet with its drastically non-metallic artwork.
Upon my first listen to this release I wasn’t all that convinced, I found the guitars to be rather uplifting and a great sense of atmosphere was left in their wake, not what one might expect from Black Metal. Then when the vocals came in I became all the more divided, they have a sort of Blackened Hardcore edge to them which makes the music feel very trendy. However keeping an open mind I was interested to hear more and I must say I was oddly impressed. The Orator even sees the addition of cleaner vocals which is something I’m sure genre purists will not be in favour of, the track also sees a continuation of the sort of uplifting, yet dissonant themes in both the guitars and drums. Whether you agree with this new age of Black Metal or not there is no denying the talent on display and the power to command a certain air of chaotic ambience.
Instrumental track Desperate Euphoria Part 1 even introduces light piano to the mix, playing on a sort of DSBM style with its emotive composition. Grave Hotel pays homage to Blackgaze and at points becomes almost ethereal with its opposing bright guitar sound that appears as a contrast to the overall Blackened output from Joyless Euphoria. Really the whole album exudes this bizarre, isolated, personal ambience and enlightenment, almost like easy listening Black Metal. Despite the albums laid back approach it becomes a tad laborious towards its close, essentially I feel that the band rely too heavily upon tried and tested Post-Metal themes and don’t give themselves enough room to adapt and expand their own sound.
If you’ve heard Post-Black Metal before then essentially you’ve already heard Joyless Euphoria. However if you’re a big fan of the genre then I have no doubt that they will tick all the boxes. For me I’m a fan of this sound but not so much so that I feel the need to plunge into the depths of it, therefore Joyless Euphoria come across to me as yet another copycat band amid a sea of modern Metal. I will hand it to them for charging forward with their approach however as it’s bands like this that could be the future of Metal’s overall sound and therefore I don’t think they should be discarded upon the first listen.
(7/10 George Caley)
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