. Satanath Records

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Striborg  are  a  solo  project  from  Australia  that h as  been  featured  before  in  this  zine  and  on  this  recording  played  more  of  an  ambient  style  of  black  metal  and  this  is  a  review  of  his  2007  album  "Ghostwoodlands"  which  will b e  re-issued  on  October  25,2021  as  a  joint  effort  between  Rude  Awakening,  Satanath  and  The  End  Of  Time  Records.




  Ambient  style  synths  and  soundscapes  start  off  the  album  and  also  mix  in  with  the  heavier  sections  of  the  music  at  times.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the songs  more  of  a  raw  feeling  and  the  album  also  brings  in  more  of  a  lo-fi  atmosphere.




  Throughout  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  while  some  of  the  tracks  are  also  very  long  and  epic  in  length.  Vocals  are  mostly  grim  sounding  black  metal  screams  along  with  some  melodies  also  being  added  into  the  guitar  riffing  as  well  as  all  of  the  musical  instruments  also  having  a  very  powerful  sound  to  them.




  Drones  are  also  added  into  some  parts  of  the  recording  and  some  of  the  tracks  are  also  instrumentals  and  as  the  album  progresses  a  brief  use  of  clean  playing  can  also  be  heard.  The  production  sounds  very  dark,  raw  and  lo-fi while  the  lyrics  cover  night,  misanthropy,  forests,  depression  and  death  themes.




  In  my  opinion  this  was  another  great  sounding  recording  form  Striborg  and  if  you  are  a  fan  of  ambient  black  metal,  you  should  check  out  this  re-issue.




Australian band Striborg first released the album "Ghostwoodlands" back in 2007, and the album was subsequently reissued in 2021. The music on this production falls in under the extreme metal category, but the album is actually divided into two separate and very different types of music. The longer songs cater for the metal aspects, with twisted growl, buzzing guitars and hammering rhythms, all of which comes across as recordings made with limited equipment and a limited budget with everything sounding lo-fi, thin, tinny and recorded from a distance. Recordings lo-fi to the extent that they come across as arguably even not of regular demo quality, which will limit the appeal of that material to those with a passionate interest in what is often described as raw and honest recordings. The other type of music explored here are dark, ambient material with an unnerving, horror inspiring quality that often will make me as a listener come with associations to various supernatural happenings. Creepy and disturbing material, and recorded with a much higher quality than the metal cuts on this album. Very much a production with two different sides to it in terms of both recording quality and stylistic expression. Due to this striking Janus aspect of the album, this production is one that warrants a pre-check. Those with an interest in haunting ambient soundscapes will find that part of the album intriguing though, and those with a deep and passionate interest in raw, lo-fi and honest extreme metal recordings should find plenty of that to enjoy here.




Today’s review is of Australian former Black Metal band Striborg’s album “Ghostwoodlands”, celebrating its recent rerelease.


This album is an offering of raw and cathartic Black Metal with atmospheric elements that mesmerise through distorted riffs of malice. Between the long and monotonous, almost obsessive, songs there are some Dark Ambient interludes that add a lot of ghostly darkness to the full-length, also hinting the band’s upcoming schism from Metal into electronic territories.


Most melodies are almost completely concealed behind the wall of fuzz, but this wall has been crafted in a certain way that only makes them more interesting and despairing. Although there are a few songs of more than 10 minutes, the whole release seems pretty dynamic and it never really gets boring. This sonic journey through slow and almost intangible sonorities grasps the ghastly essence of the genre in an ideal way. My personal highlights are the title track and “Wandering”.


I recommend this album to fans of Raw Black Metal and Atmospheric Black Metal.




On Ghostwoodlands, the tracks that adhere to black metal proper are rather raw, almost demo quality despite drums being fairly loud and rehearsal tape level of clear in the mix. The ambient tracks are all droning keyboards with bells and chimes ringing, as if someone swapped them for one of those world music discs of Tibetan Buddhist monk singing bowls and suchlike. “Sinister” actually comes off like an outtake from the Forbidden Planet soundtrack, so as opposed to the usual throwaway “ambient” nonsense you get on so many black metal (and death metal) releases, these actually bear more interest than you may expect.