Coming out of Sarajevo, Sulphuric Night is a one-man black metal project from Osman Ramadanović, known as O. A talented multi-instrumentalist, a brief look at his discography reveals a vast set of black metal projects across different aliases and groups.
Released just a few days ago, Starving Claws of Despair is his latest release, and it’s the perfect album for the biting November cold. Written and recorded in 2023, it’s atmospheric, dark and brutal, with O’s snarling vocals over some of the best riffs I’ve heard from the region in recent times. Black metal is something I’ve been getting into a lot more recently, and I’d been meaning to get to O’s first Sulphuric Night project, Forever Cursed, so this new release is the perfect entry point.
As someone relatively new to the more extreme metal variants, some styles can feel overwhelming, or too merciless at times. But atmospheric black metal is different: it strips back the more extreme elements in favour of a more spacious, almost post-metal sound, which is much more my thing.
The tracks are broken down into parts, and Part I wastes no time, jumping straight into thumping bass drums and heavy riffs. It’s very Darkthrone-esque, but more immersive and repetitive, which creates a hypnotic sound. The tracks are aggressive, but the guitar lines are digestible, slightly slower than typical black metal. Some of the breakdowns even head into chugging, sludgy territory at times. It’s a nice touch, a mix of two genres I’m a big fan of.
Part II continues with cymbals ringing in the background while the distorted guitars melt away. It’s crushing, but still comforting in a Stockholm syndrome sort of way. Standout passages are scattered throughout, providing brief respite from the growling vocals, which are nothing short of feral.
As far as highlights go, Parts I and II start the record off brilliantly, but Part IV is where O really ramps things up. We get a killer chugging riff to begin with, before a masterful breakdown into fuzzy distortion. At times like that, it’s crazy to think one person created everything here. Massive props. It’s similar to Agalloch, but there are no melodic vocals and really no lighter moments.
The only drawback is that the heaviness takes its toll. After a while, the riffs, guttural vocals and clashing cymbals can blend into one another, and it becomes a sort of foggy haze. But that haze is part of the spell, and it lifts with the penultimate Part VII, another great track.
Overall, it’s a fantastic record, unlike anything I’ve heard from the scene. I’m in awe that it’s a one-man project, given the quality of the sound and the diversity of the arrangements. One I’ll definitely be looking to buy on vinyl.
Where to Find Them
- Support on Bandcamp
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