One is Norway’s Limbonic Art, who released their debut The Moon In Scorpio in 1996 to widespread acclaim that put them in similar circles as the likes of Emperor and Arcturus with their traditional Norwegian Symphonic black metal sound. Now a one-man project, They also released the vicious Opus Daemoniacal earlier this summer.

The other is Hungary’s Sear Bliss who released Phantoms in 1996 as well, but whose sound was a little different (especially at the time), with a unique sound that relied heavily on brass instruments (mostly the trombone) to deliver its symphonic element.

And while Limbonic Art has moved on to more riff-based, less symphonic hues since Morfeus left, Sear Bliss has stayed to course over their consistent discography arguably peaking with 2004’s Glory and Perdition.

Now, I don’t claim to be an avid Sear Bliss fan. I own some of their albums (I actually own more Limbonic Art albums), and I enjoy them occasionally and do enjoy the trombone elements that they deliver, but I can’t say I’m in love with them, even their more revered offerings like the aforementioned Glory and Perdition or Forsaken Symphony.

And that holds true for Heavenly Down. It is an enjoyable, pleasant album full of more restrained, progressive, elegant symphonic black metal, rather than full-on bombast, with a large presence of triumphant brass segments that elevate things when they appear.

And it’s those moments that leap off the disc, as the rest of the non-brass material is fairly pedestrian, sometimes melancholic, sometimes cosmic-ish black metal with some solid riffs here and there, mixing tremolo blasts and patient, introspective passages. For example “Watershed”, “Forgotten Deities” or “The Winding Path” (with its nice little 90s sci-fi movie synth break).

And while all of the tracks do feature those regal, triumphant trombone breaks, a few stand out from the others as they have a more fierce delivery as well, for example, the epic opening number “Infinite Grey”, “The Upper World”, the climax of the title track, “Chasm” and closer “Feathers in Ashes”; both album standouts.

A consistently good addition to a consistently good discography, and by the winner by a nose in the Limbonic Art vs Sear Bliss competition I created in my head.

So reviewing the band’s 8th album since their inception in 1993,  as my first real exposure to the band is probably not a good idea, but here goes.

From what I can gather, apparently the band is slightly less black metal now, more experimental, and has a more mid paced  patient gait. There are still  a few black metal moments, and the blackened croaks are still present, but the overall mood and pace is surprisingly restrained, steady and tempered. The good news is, the brass and orchestral elements are still pretty focal, even if more celestial, and the trombone taking more of the center stage than before.

After the intro, “Forbidden Doors” heralds the band’s 6 year layoff with triumphant menace with some crisp,  blackened furor, but the moody brass introduction about 4 and a half minutes in signals the band’s regal roots. Then “Seven Springs” has a lovely melodic canter and sparkle and yet another stern, austere brass break 4 or so minute in.

Then the album starts to get a little more restrained with the mid paced mach of “A Mirror in the Forest” and more ambient “Abandoned Peaks”, with a regal first few minutes that could be a Summoning song. Then you get a bit of a head scratcher where a sort of post rock jangle of “Haven” comes into play and “The Main Divide” also comes across as pretty main stream paced track, even with the brass. In fact, when you throw in the following slower ten minute number “Leaving Forever Land”, its a bit of a late album lull.

The album closes with an interlude  in “At the Gates of Lethe” and then “Shroud” but it  continues the album’s late run of less rousing and more celestial, spacey, moodier, atmospheres which simply don’t grab me as much as the albums earlier two of three tracks, and even introduces some clean post rock vocals, which just done jive at all.

In re listening to Forsaken Symphony, even with its cosmos based tracks (“My Journey to the Stars”), its clear Sear Bliss, while at times delivers some awesome moments moments of brass laden majesty , have lost some of their black metal bite and are spreading their wings even more. But it’s yet to be seen if the band will continue to develop or if they will ever return to their more pagan and bloody roots which  are more befitting of the still brilliant brass elements.

The symphonic atmospheric approach is still the driving force with the shackles of black metal still holding them down but they are so adept at what they do they are no longer weighted down by the conventions black metal dictates that they adhere to. With considerably more rope the shackles are more like tethers now. Without question they are still a black metal band but avant-garde experimentation is now the driving force. Complex multi-layered textures and frequent time changes are important and dense compositions that demand careful listening reward those that do not dismiss the music to the background.

Once again we get intensity and ferocity blended with moody, melancholic moments and beautiful symphonic passages that blend harmoniously with both the atmospheric flourishes and the in your face blasting. The one new element is clean vocals, which as a general rule ruins metal for me. It is not the dominant style here and is not even as pervasive as what Enslaved does now, and is actually done very well. I’m sorry to hear it but glad it is there, if that expresses anything. It is an element I usually can do without but if it really fits the composition by all means do it, just do it right. Where the clean vocals are most bothersome is “Entering the Seventh Gate” that is also where they are most prominent. “There Is No Shadow Without Light” highlights the clean vocals as well but the delivery does not whine quite as much. The vocals are worth getting through, killer song.

If you count yourself a fan of Ihsahn or Enslaved do yourself a favor and get this disc. If you are a long time Sear Bliss fan listen all the way through two of three times, that is all it will take to get back on board. I was sold by the one minute fifteen second mark of “The Eternal Quest.” With seven powerful songs that flow together well it is hard to pick a favorite out of context but I’d definitely check out “Ballad of the Shipwrecked” and “Great Cosmic Disorder.” “A Lost Cause” may be skipable but thats it. “The New Era Of Darkness” also stands out, notably because of the harsh vocals and the double bass/ bass guitar attack. Some simple riffs on guitar recur to tie everything together and the melodic ending is eloquently simple. Too bad the album is so short.

After Glory and Perdition, my expectations were very high. On first listen I was disappointed. Is something missing? The short four-minute “Thorns of Deception” illustrates the something missing illusion, more streamlined and straightforward with a bit of a grove. Are they leaving true grim behind? They certainly have the talent, and it is in evidence on this song but I prefer their long serpentine compositions with ample room for expressive devotion to darkness. Luckily we get some of that as well. By the third listen this afternoon I had changed my mind. This band is the total package. True black metal art crafted over the course of many months by talented musicians, not belted out over a few beers in an hour in their own private basement studio.

Most bands mellow with age; Sear Bliss has once again ramped up the intensity. Drums and vocals provide the bitter edge and horns permeate the song, oozing grandeur. The bass guitar is loud and significant. Recurring melodies from the horns tie together the harsher elements and the horns and drums work very well together. The vocals are a bit lower, and rougher than ever. Quiet moments add to the majestic flair and make the horns even more impressive, for example on “Somewhere.” Synthesized atmosphere is a thing of the past, now that role has been turned over to the other instruments. Keyboards now fill in where needed instead of dictate. “A Deathly Illusion” starts off with nearly two minutes of build up to harshness, giving way to a moody middle section. “Blood on the Milky Way” is a long song that harkens back to Grand Destiny with a faster lighter composition and beautiful guitar solos. “Omen of Doom” is slow and heavy. “The Venomous Grace” has an icy cold intro.

Sear Bliss has been on my short list of favorite bands for many years and each album has stood the test of time. I spend a lot of time listening intently to mediocre music, one of the bands I turn to when I need a break is Sear Bliss, and it puts other bands in perspective. I gave each of the last three full lengths top ten honors, with Glory and Perdition getting my vote for album of the year. After quite a few spins of The Arcane Odyssey, a top ten placing is all but assured. This disc is a slight disappointment, emphasis on slight, but only because I expected too much. Definitely one of the mandatory releases of 2007.

Usually when I get an album to review the first thing I do is pull out their previous works if I have them to refresh my memory. With Sear Bliss I don’t have to, I never put the old ones away. They still reside in my cd changer and get frequent play. That means Glory and Perdition has to be something special to top previous works. The first album I heard was The Haunting (also produced by Viktor Scheer), next was Phantoms, and the rest as they were released, so in my head I have a continuous progression towards more intensity though the reality is Haunting was the divergence. What they have evolved into over the last three albums is, while not unique, certainly a signature sound, and not just because of the brass section. The aggressive raging black metal started in Sear Bliss’s early days is amplified in Glory and Perdition partly because the brass section is now fully integrated, not just part of calmer orchestrated sequences, and partly because the songs are shorter and more intense.

The epic grandeur is still theirs to dispense, and now we have several four and a half minute epics to go with their eight minute epics of the past. Songs like “Death in Torment” “The Vanishing” “Hell Within” and “With Mournful Eyes” are their benchmarks, haunting and intense music that is instantly recognizable. This new album has many songs to rival those classics, even though 7-8 minute songs are a thing of the past. The keyboards are toned down even more this time round, but still play an important role. The drumming is more raging, more intense and slightly louder in the mix and Nagy’s vocal delivery is the same as always (who needs Attila), which is a great thing. I’ll offer two excerpts lyrically, “Even if I die now my shadow will haunt you forever” and “I’m lost in the labyrinth of immortality, in the hollowness of despair.” Along with a consistent vocal style, there is a consistent sound quality from album to album, on the raw side of the scale.

Glory and Perdition is not as raw as previous works but is not polished in the symphonic black style. Dark, cruel and powerful would describe the achieved sound. Ten tracks, with seven songs and three interludes only thirty eight minutes, the shortest of their albums. “Birth of Eternity” has subtle keys that sound like bird calls and prominent horns, even competing successfully with the blastbeats. Zoltan delivers much variety in the drumming and Attila’s backing vocals are in the background. This song is followed by a very mellow interlude and then straightaway with blastbeats to open “Night Journey” where the brass section gets the leads, then blastbeats until the very mellow guitar solo ends it. “Glory to Perdition” starts off mid tempo, drums take the lead, dynamic, then blastbeats take over for a while then slow and heavy with warbling guitar melodies that do not overpower. Ominous horns overwhelm the drumming. This is an epic song even though it is only four and a half minutes. “Two Worlds Collide” is memorable instantly with its very dynamic horns that return at regular intervals and its 80’s black / thrash feel. “Shores of Death” has a keyboard melody that wisps throughout and Attila’s vocals stand out strongly, his recondite yet gruesome moment. “Dreams Spectre” is full speed intensity with guitars and horns working especially well together. The final song, at over seven minutes, “Blood Serenade,” would fit in on any of their albums with slow and somber pace, subtle drumming, quiet guitar and, of course, horns that come in strong midway through followed by blastbeats. Intensity builds throughout the song.

A classic in the making. The cover art is by Hungarian artist József Tari and is far and away the best Sear Bliss cover yet. Great image, excellent detail. Get him under contract for the next album. Few bands with ten year histories can claim each album to be superior to the last, Sear Bliss can.