Post-black metal might not be the most controversial label anymore, but Harakiri For The Sky has taken it to a point where associating them with black metal feels a but too odd. It's not even a point of gatekeeping, as much as it feels like a disservice to put these guys in the same lineage as the Austrian Black Metal Syndicate. Beyond the blast-beats and tremolo picking lies a maze of influences from post-hardcore, grunge, and even indie music worked into a powerful emotional core. Their latest album, Scorched Earth, even comes with a bonus Radiohead cover (more about that later). While increasingly more "post" than "black," this album encapsulates Harakiri For The Sky's most interesting tenets and their drive to leave classifications behind in pursuit of catchy, passionate music.
Fading in with serene keyboard chimes, the contrast between punchy rhythms and dreary melodicism immediately takes center stage on "Heal Me." Vocalist J.J. quickly re-instates himself as the heart of the music, as his signature howling cadences commingle with the distinctive screams of depressive black metal legend Tim Yatras of Austere. But unlike a lot of post-music, Harakiri For The Sky has become less concerned with long-winded crescendos, and more with using a metal rhythm section to drive what's essentially sad boy indie at its core.
A 10-minute track like "Keep Me Longing" might foreshadow a long build-up, but it jumps from mournful piano arpeggios to blistering speed in the blink of an eye. By being unafraid of dynamic contrasts, multi-instrumentalist M.S. ends up being able to flex more of his knack for catchy leads and riffs made for movement. It's his lead work that keeps the song engaging, without having the washy soundscapes of other post-bands. The instrumentation's power matches J.J.'s vocals, as the music reaches a fever pitch of heartache despair, and yet hope.
Deeper cuts like "With Autumn I'll Surrender" highlight how far Harakiri For The Sky has drifted from dissonant darkness, as the clean intro and distorted first verse are far from contrasted forms. Adding more oomph to a depressive rock riff doesn't make it metal (double-kick notwithstanding), but that doesn't keep it from being well-written. M.S.'s musical ideas, stripped of their double-kick, screams, and tremolo, would work splendidly in many an Oscar-bate mumblecore movie. In this way, the metallic elements become an aesthetic counterbalance jarring contrast. A track like "Without You I'm Just A Sad Son" can wear its tragic coming-of-age story on its sleeve without needing to dial back the surging riffs and galloping drums. Its nucleus of forlorn beauty remains intact.
As non-black metal this album can be, "No Graves But The Sea" gives more credence to that school of thought — as J.J.'s yells takes on a more traditional rasp and M.S.'s arrangements gun the throttle. But even in this context, the actual notation follows a more luminous tangent. More than scariness or toughness, Harakiri For The Sky wants to express heartfelt sentiments, as clarified by "I Was Just Another Promise You Couldn't Keep." Its title might bring early emo to mind, as its overwhelming impact meshes with a vulnerable foundation.
Comparing the closing cut "Too Late For Goodbyes" with the band's cover of Radiohead's "Street Spirit (Fade Out)" reveals just how succinct Harakiri For The Sky's stylistic nexus has become. While the singing of Serena Cherry from UK posters Svalbard feels on brand in the former, the latter brings the comparative propper black metal band Groza into the mix. J.J.'s clean singing voice stands out to a point where one might wish he sang more on his albums, while the growls from Patrick Ginglseder give just enough edge without upending the song's distinctive vibe. Double kick over a song written by Tom Yorke wasn't on my bingo card for 2025, but the fact it's not terrible speaks to the musicianship shared between J.J. and M.S.
Harakiri For The Sky has done more than settle into its niche this time around. They continue to push their aura further deeper into itself, never toning down the raw emotion in every new sonic vista they ravel through. Simply calling this black metal, or even post-black metal, risks overlooking the ways this band has grown past labels, pursuing catharsis instead of acceptance.
