Under the Radar — Progenie Terrestre Pura And Black Boned Angel


This week’s Under the Radar feature’s Italy’s space black metal freaks Progenie Terrestre Pura and New Zealand’s now defunct melodic drone aficionados Black Boned Angel. Both bands have released tremendous albums, the former being the band’s debut, U.M.A., and the latter being a posthumous album appropriately titled The End.

Italy has been pumping out some great music lately: Hour of Penance, Azrath-11, and Fleshgod Apocalypse (pre-The Agony) to name a couple. Add Progenie Terrestre Pura to that growing list as they’ve released one monster of a debut album. The band takes Cascadian black metal influences, other “post-black metal” elements, traditional black metal and combine them with the delicate aspects of space ambient (Jonn Serrie and Kit Watkins), krautrock (Tangerine Dream and Heldon), and psybient acts (H.U.V.A. Network and Cell).

The keyboards wash over the extreme elements of the music to create a truly unique and masterful sound. The vocals only add to these trance-like textures and do not detract from the music one bit. The band even takes special care to craft a mechanized industrial ambient song in “La Terra Rossa di Marte” displaying a Burzum-esque knack for both black metal and ambient/electronic stylings exclusively.
PTP certainly know how to maintain the ebb and flow to their music, effectively putting the listener in a trance at times and then violently shaking them from it.

The End

The End

Black Boned Angel has been kicking around the drone/doom scene for a decade and have called it quits. With five releases already under their belt, the trio has released their sixth and final album consisting of three songs: Part I, Part II, and Part III.

“Part I” begins in a manner reminiscent of Wormphlegm, including menacing high shrieks of anguish. The buzzsaw guitar tone is punchy and leaves room in the mix for the low end in the bass. A lot of drone bands tune so low/use so many effects that the guitar and bass often become synonymous, so this is refreshing to my ears.

“Part II” dips into more atmospheric territory featuring some soft and well-placed piano playing that reminds me of Ea and Wraith of the Ropes. The track spans a bit short of a half hour and plays with atmosphere and drone battling each other for length in the track.

“Part III” is the closer here, with keyboards ringing the end of days for both the album and band. A fitting finality indeed.

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