DUISTER MAANLICHT: Influisteringen van de Duivel

Dutch band Duister Maanlicht (roughly translated as “Dark Moonlight”) have been busy making noise for 21 years, having formed at the beginning of the millennium. After creating a bit of controversy among satanic black metal purists, and having become the target of much animosity at home, the band have just released their second album for Michigan-based Christian Metal Underground Records, and their 9th overall.

Influisteringen van de Duivel, or “Whispers of the Devil” is a concept album about the influence of evil, and perhaps more importantly, taking responsibility for one’s own actions. And before we believers pat ourselves on the back, we need to look deeper. From the band’s press release: “The record takes a dark, misanthropic view on mankind, that we have put ourselves in the center of the universe and this is what we have done with it. There is no humanistic progress in men. Besides that, we also have to know the dark history of Christianity so we can deal with that. The corruption of power. We can only hope for forgiveness.” In other words, buckle up. It’s going to be quite a ride.

It’s no surprise then that the music is just as grim as the lyrical emphasis. What we have here is mostly late 80s/early 90s style raw, European black metal. Something resembling melody is present, but it’s rare and in very limited doses. But to think this record is ‘typical’ would also be a mistake. For instance, primitive black metal is known for its very limited use of bass frequencies, instead focusing on the treble end of the spectrum. On Influisteringen, this high frequency is often utilized in the normal dominating way, only for the bass to come in and round out the low end and catch you by surprise. When it does, it’s highly effective, and satisfying to my listening ears.

This more prominent use of the bass guitar brings out an almost rock and roll or even punk rock feel, not too dissimilar from later Darkthrone material, or albums by Chilean Christian band Black Leather. And one of the most surprising, and likewise effective, influences on the album is the use of crust-punk rhythms and sounds, reminiscent of early Motorhead, Discharge, and the thrashy feel of Hellbastard, but heavier and darker than those examples.

The final track is the only song on the album that lets up on speed whatsoever, creating a slightly more atmospheric vibe, but without the use of keyboards or anything cheesy. It’s just a slower song with some melodic guitar parts. Overall, this is a great addition to the black metal scene.

3.5 / 5

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