Their name may not be quite as prominent as some of the other European black metal bands that formed in the early 2000s, but Balmog has been one of the most consistent and intriguing acts to follow. The Spanish band started off on the traditional side of the genre, but even on earlier full lengths like Testimony of the Abominable and Svmma Fide the blend of direct, blasting riffing and slower, atmospheric moments had a considerable amount of depth to them. Since those earlier efforts the band’s approach has evolved significantly, branching out to include everything from gothic/death rock to post punk and even a more nightmarish take on psychedelia. On the group’s frequent EP output the experimentation has come in the form of lengthy, single-track releases and unexpected cover songs, but it was 2021’s Eve that fully showcased just how far Balmog had branched out. That album was a bit more of a slow burn compared to some of the scorching riffs of its predecessors, but it won me over with time and proved to be a bit different from other black metal that was attempting to weave in similar influences. Four years later the group has returned with Laio, which feels like a fusion of old and new. There’s a noticeable return to the twisting and turning black metal from earlier in Balmog’s discography, but the additional styles are woven in more subtly, making for an album that gets its hooks in a bit quicker.
Where Eve represented a complete transformation to Balmog’s sound, Laio feels like it takes elements of that transformation and fuses them back into the band’s previous foundation. This isn’t necessarily a bad thing, as it brings back the crisper, sharper tone from albums like Vacvvm compared to some of the purposefully muddier and hazier sound of Eve. Opener “Falling” gives listeners a brief hint at how the old and new will be combined, as the cadence and density are closer to traditional black metal but the hazier and gloomy guitar melodies laid over top of them continue to let gothic/death rock seep in. “Mud to Gold” continues this approach, as initially the faster blasting and way the guitar work towers over the rest of the band give off a similar feel to the intense black metal of the band’s earlier days. But around the halfway point the shimmering melodies come back into play and change the atmosphere significantly, giving the song a sense of fleeting hope after its more violent beginning. The production clarity transforms the hazier psychedelia and gloomier death/gothic rock from Eve into something that feels different, as things are noticeably sharper and don’t give as much breathing room. The first half continues on this black metal forward path for much of its run-time, but as things move to the second half its clear that things are about to shift again. Interlude “Ortus Umbra” lets haunting melodies and ambient textures create a tense, unsettling soundscape before “Mashalam” kicks in with drearier guitar leads and a more rock-centric tempo. Closer “Getsemaní” ties everything together, exploring the black metal and other elements equally before concluding in slow, atmospheric passage where the keyboard and guitars are truly entrancing. Balmog has made a lot of subtle tweaks on Laio, but they result in tracks that pull you in and keep you invested in each twist and turn.
Balc’s vocals were one of the elements that drew me to Balmog’s music early on, and his approach has expanded significantly over the course of their career. “Mud to Gold” starts off on the harsher end of the spectrum, showcasing that his screams and yells are just as intense and room filling as they were some ten years ago on Svmma Fide. The harsher sections have always had this overwhelming presence to them that helped set the group apart, and Laio continues to be a perfect showcase. While Balmog had utilized a few cleaner chants and sung pitches in the past, this became a focal point on Eve as they explored new textures. There were admittedly some rough spots, but it worked in the band’s favor and gave them some haunting sections alongside the more abrasive ones. On Laio these ranges have been refined considerably, as songs like “The Silence of the Lambs” and “Getsemaní” spotlight the singing and it makes for some somber, tense sections that stand out over repeat listens.
Balmog has forged their own path over the last ten years, moving from their rawer and more traditional roots into a fusion of sounds that made them a unique face within black metal. Where Eve flipped the script considerably and emphasized some of the outside elements, Laio brings back the fire and fury of those earlier black metal days while retaining the unique qualities and somber atmosphere. It makes for an album that’s a bit more immediate than its predecessor but has just as many details waiting to be uncovered, and those that choose to spend time with either effort won’t be disappointed. Laio is available from War Anthem Records.
-Review by Chris Dahlberg
