Album Review: Aurora by Black Autumn (2010)
Black Autumn’s Aurora is a haunting journey through the realms of Doom Metal, Depressive Black Metal, and Atmospheric Black Metal. Released in 2010 under Bylec-Tum Productions and self-released channels, this Italian-German collaboration delivers an experience that feels both deeply personal and overwhelmingly vast. With Michael Krall handling everything from vocals to lyrics, instruments, photography, and even some of the production work, it’s clear this project was a labor of love—or perhaps obsession. The artwork by G.G. perfectly complements the bleak yet mesmerizing tone of the album.
The record opens with "Aion," a track that immediately sets the mood. It’s slow, crushing, and atmospheric—a sonic representation of wading through a foggy forest at midnight. The riffs are heavy enough to make your chest vibrate, but there’s also a melodic layer that sneaks up on you, almost like sunlight trying to break through storm clouds. What makes "Aion" memorable isn’t just its raw power; it’s how Krall’s vocals sit somewhere between a growl and a lament, as if he's channeling centuries of despair into each word. This duality—beauty buried within ugliness—is what keeps me coming back to this song.
Another standout is “Lightning Goeth From Fire,” which leans more into traditional Black Metal territory while still maintaining that depressive edge. The drumming here is relentless, driving the track forward like an unstoppable force of nature. But again, it’s the interplay between aggression and melody that stands out. Around the three-minute mark, the music shifts unexpectedly, introducing a softer, almost ethereal section before plunging back into chaos. That moment feels like catching your breath only to realize the storm hasn’t passed—it’s just waiting for you. Tracks like these remind us why Black Autumn deserves attention in the underground metal scene.
One thing worth noting is the inclusion of several instrumental bonus tracks, such as "Margaritae Sorori" and "Black Autumn." These pieces add texture to the album without overstaying their welcome, acting as brief respites from the emotional intensity of the main songs. They’re not filler—they feel intentional, almost like pauses for reflection amidst the cacophony.
What strikes me most about Aurora is how cohesive it feels despite spanning multiple subgenres. Whether you’re drawn to the oppressive weight of Doom Metal or the icy atmospheres of Black Metal, there’s something here for you. The fact that one person—Michael Krall—was responsible for so many aspects of the album adds another layer of intrigue. It’s impressive, sure, but it also makes me wonder: did creating something so dark take a toll on him? Or was it cathartic?
In conclusion, Aurora is not just an album—it’s an experience. If you’re looking for easy listening, this ain’t it. But if you want music that challenges you, pulls you into its world, and leaves you feeling unsettled yet strangely satisfied, give it a spin. And hey, maybe don’t listen alone late at night unless you’re okay with existential dread creeping in. Who knew Italy and Germany could team up to create something so chillingly beautiful?
