Another year, another revolution of our tiny planet around the sun, another attempt to pigeonhole Vienna’s Harakiri For The Sky into a single genre. Even a combination of genres would suffice, but every time one tries to label this band, they add another dimension to their music that defies that label. I mused about this while excessively praising their previous full-length record Maere. The review can be read HERE.

Four years after the release of the fantastic Maere, the duo (plus a tremendous sessions drummer) are back with their latest record, Scorched Earth. At over a hundred minutes (an hour for the standard release, along with two bonus tracks), Scorched Earth is another gargantuan addition to their hefty catalog. After several listens, I am glad that Harakiri For The Sky hasn’t phoned it in yet. They continue to deliver well-thought-out releases that are dense and richly layered with elements from their diverse influences, all while maintaining a coherent sound that they have become known for.

Starting strong with “Heal Me” (feat. Tim Yatras of Austere), the true Harakiri dose kicks in with the second track, “Keep Me Longing.” The longest track on the record, this eleven-minute monster plows through with deceptive ease. It stands out as one of the strongest songs, featuring a compelling central melody that navigates through various intensities, from powerful blast-beat sections to anthemic rhythms. This band has nearly perfected the art of capturing the intensity of what one might describe as “positive grief,” if such a mood existed on the emotional spectrum. A clear illustration of this is the contrast between the upbeat chord progressions and tempo with the melancholic title “Without You I’m Just A Sad Song.” Interestingly, the first half of this track could almost be mistaken for post-hyperpop—especially without the harsh vocals. Past the halfway mark, the trademark melancholia of this Viennese duo takes root, and we are back in post-blackened territory again.

The choice of “With Autumn I’ll Surrender” as a single to advertise this new record was genius. An intro arrangement with futuristic synth wave keys coupled with standard piano notes takes the Harakiri sound in a fresh new direction. The electronic theme subtly continues through parts of the song adding yet more nuance to their established sound. With folk-metal-inspired interludes to break up the intense sections, the song is among the easiest yet the catchiest listens on Scorched Earth.

While many in the puritanical circles of black metal will scoff at the overly hammy song titles, those who dip their toes into DSBM, Post-Rock, and Post-Metal genres, are accustomed to the longer song titles laced with emotion. In this regard, Harakiri excels at painting the perfect mental picture against which to lose yourself in the music. With evocative titles like “Without You I’m Just a Sad Song”, and the sad warmth of “I Was Just Another Promise You Couldn’t Keep”, the band stands testament that there is a wide emotional range in extreme metal and various themes can be examined with a delicate hand, to the contrary of the naysayers.

There is heavy collaboration on Scorched Earth with several vocal features. Along with Tim Yatras (on “Heal Me”), “Too Late For Goodbyes” features the vocals of the sublime Serena Cherry (from British post-blackened hardcore sensation Svalbard). A more breakneck melodic black metal track is the perfect backdrop for her trademark dreamy vocals. As a biased fan of Svalbard and Cherry’s vocals, this track immediately shot forward to my favorites on the record. A cover of Radiohead’s “Street Spirit” (featuring P.G. of Groza) and a bonus album closer “Elysian Fields” (feat. Daniel Lang of Backwards Charm) dreamily round out Scorched Earth.
I have already gushed about multi-instrumentalist Matthias Sollak (M.S.)’s prowess in my review of Maere. His diversity of songwriting chops continues to amaze on Scorched Earth. His ability to write dense, enjoyable, yet varied arrangements that dance between genre tropes serves as a testament to his skill. In a quickly crowded space with gimmicks galore, M.S. continues to show us the value of proficient songwriting as the backbone of successful records. In the other half of the duo that is Harakiri For The Sky, the vocalist Michael Kogler (going by J.J. in Harakiri For The Sky and V. Wahntraum in other projects) provides the vocals that have become synonymous with this subgenre. Along with his project Karg, the choice of tortured nostalgia in his vocal delivery has become recognizable. I have criticized the seemingly monotone of his vocal range in my previous review. However, I now realize that it works as a foundational tool and bolsters their signature sound. Sessions drummer Kerim “Krimh” Lechner is a winning addition to the band. His ferocity behind the kit is the counterpoint needed to balance the more drawn-out emotional aspects of the band’s songwriting style. Among the most sought-after session drummers in extreme metal, Krimh proves that he has the power to push a band toward higher greatness.

While I lament that none of the tracks on Scorched Earth immediately leaped out at me as strongly as the favorites on Maere did, I will concede that Scorched Earth is a better-balanced record. While Maere toyed with elements to promote nostalgia, there is a sense of whimsy pushed forth with Scorched Earth, belying the aggressive album title.

Scorched Earth is a balanced follow-up to Maere. Showcasing the strongest aspects of their songwriting, Harakiri For The Sky also injects a new sense of nostalgic whimsy into this record. This band continues to prove itself to be equally consistent and creative. A strong start to the year!