If I told you that there are just as many one-man Black Metal outfits as there are full-band collaborations in the genre, it would probably be easier to believe than with any other Metal subgroup, other than maybe Doom. While traditional depictions make light of the one-man-band, Black metal fans know they are no joke, as many are putting out material just as fresh and artistically challenging as that of more traditionally structured groups. "Drownwards," the newest record by Russian act STIELAS STORHETT, is a solid example of the creative vision present today in a genre long known for its rigid stylistic constraints.

While Black Metal today is generally more diverse than it was in, say, the late 90's, much of the genre still revolves around long, blastbeat-driven odes to the forces of chaos and malignity. Some bands still willingly record music with production values that sound like a blanket-muffled iHome placed within a shoebox echoing out from underneath a manhole cover, just because. It's not necessarily the norm, but it still speaks volumes to the traditionalist ethos that still influences many current artists.

This is not to imply a lack of ill will or blast beats on "Drownwards," but it's far from a conformist Black Metal record. Bandleader and sole instrumentalist Damien T.G. incorporates a variety of sounds and influences to construct a sound that is intelligent as well as brash, both harsh and accessible at the same time. Opener "Gasp for Change" leads in with a whisper of wind and acoustic guitars that gives way to a skin-crawling main verse, changing its tone strikingly within a space of three minutes, and ends before the listeners are properly able to settle themselves. "Playfields of Gods" similarly transitions from sheer combativeness to a more atmospheric, yet still aggressive ambiance and back with the fluidity of a painter's brushstroke. While Damien mainly employs a Hardcore-style roar as his primary vocal vehicle, he is versatile enough to adapt it to a variety of tones and attitudes, helping to color the music nearly as much as any of the instruments.

"Just Walking Around" is appropriately titled for such a misanthropic style of music, though it is much more energetic and melodic in execution than one would expect. The song highlights Damien's impressive grasp of songwriting as well as sheer instrumental prowess, as every beat, riff, and lyric is delivered with intent and care. It can make all the difference in the world between being a true multi-instrumentalist than being, say, a guitarist who just wants a passable backing foundation to riff over. The one outside element included is the presence of female vocals on two songs, on "Null" and "Omnivores." It's probably the only thing that Damien can't do himself (and even then, it almost feels wrong to doubt the man given his proficiency in every other element in the recording). Their inclusion on "Null" is somewhat less than satisfying, but they serve as a more powerful and effective counterpoint on "Omnivores," which seamlessly blends the bleak and atonal with startling melodicism.

It's something that STIELAS STORHETT succeeds at time and time again throughout the album, a satisfyingly diverse effort that combines everything that makes traditional Black Metal so enjoyable with a rich palette of complimentary flavors that keeps the listener guessing from song-to-song and, indeed, minute-to-minute. Heavy, artistic, and surprisingly catchy, "Drownwards" is a rewarding listen for anyone who can appreciate forward-thinking Black Metal that still delivers on many of the genre's hallmarks.