Label: Void Wanderer Productions
Date: January 23rd, 2025
The inner workings of the Netherlands’ black metal scene don’t cease to amaze me. I’ve probably mentioned it a hundred times over the course of the years, but the effort put into realization of every release, concert, promotion, all down to the detailing on the artworks, it’s just amazing. Aside from the many years in comradery with Zwaertgevegt and Void Wanderer Productions, along with their rosters, ties with Hammerheart Records (not exclusively black metal, but still…) and a couple of other bands and individuals, I’ve recently been introduced with Baroeg venue. Also not exclusively dedicated to black metal, but still relying on a DIY foundation. Hopefully, on my recent trip to Amsterdam I managed to collect a seed of whatever is driving the dedication of these people. And no, I’m not thinking of the same seed you’re thinking.
Seriously now, black metal bands from the Netherlands have a safe haven for their roots to spread out. In this particular case, a debutant four-piece from Amersfoort finds a cassette and digital edition of their first recording. Cassette being limited to fifty pieces, you’re much more likely to just dive into the digital version, but that would be a good enough introduction into Veenlijk.
Starting off from the band’s logo, it is probably one of the most inventive I’ve seen since just about forever ago. The name of this act translates (if I understood correctly) to a bog body. Basically, a corpse mummified in a bog. And that’s what you get in a logo. Rotten trees (with a broken rope) make for the first word in this compound word, and the second is made of wet peat with a corpse of a hanged man lays with the noose still around his neck. A work of art in its own, right there in the logo.
No less of a great work of art, though somewhat on the ordinary side for a black metal release, the cover portrays the title of the EP. “Galgenberg” being a hilltop with gallows. Both the logo and the cover are works of the same artist who goes by the name of Kalimacabre and whoever he or she is, there’s certainly pride with standing behind such artistic victories.
As for the music, I’m not as enthusiastic towards Veenlijk as I am with the visuals. It says in the press kit that “Galgenberg” might appeal to fans of Darkthrone, Hellripper, Asgrauw… On the other hand, the band’s credo states that they aim to push the boundaries of black metal by using post-hardcore, punk, thrash and speed metal influences. Well, those statements are kind of questionable. Mostly because all the listed genres have already been tried along black metal and Veenlijk wouldn’t be as unique as they might want to be. Not to mention that none of the above numbered bands are renowned for their innovative work, but rather for being quite creative within the borders of the genre at hand. With that in mind, I’ll try to assess exactly what has Veenlijk done on their debut.
The truth is actually somewhere halfway. “Galgenberg” is a very heavy record, especially for a black metal setting. That’s where I hear most of the said atmospheric post-hardcore influence. Not so much in the music which, for the better part of the release, closely follows the standard black metal patterns. The low tune oriented overall soundscape is the key to the “original” sound of Veenlijk. Sure, some pieces of compositions are also on the denser side of emotional hardcore. On the other hand, the closing “Bloedbad”, for best example, is a thrashing, punk black metal tune in its core. Adding to it the original Darkthrone-ish cold, primal black metal, you get a regular atmospheric mish-mash in just four tracks. Over twenty minutes in length, but still just four tracks. Way too heterogenous for my taste.
Also, while I’m at it, I don’t find too many pieces that are sufficiently moving and creatively effective. Simply put, there are too few hooks that keep to the memory. To be honest, the best I can take from “Galgenberg” is the rabid thrashing part of “Bloedbad”. The rest is too thin, even if I do have to note the bass line for its worth in the whole of the EP’s sound. Its somewhat monolithic positioning that almost emanates a call to a ritual of Lovecraftian scale.
Other than that, “Galgenberg” is a recording that is performed correctly, but nothing more than that. There’s a bucketload of work still ahead of Veenlijk in order for their goals to be achieved. Considering the band is young and comprised of young (as far as I could discern) individuals, there’s plenty of time ahead to get there. For my part, fingers crossed!
