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Henbane by Cultes des Ghoules is literally one of the most creative efforts in black metal in a long while. This album was just a strange journey through various aesthetics. Right from the start, "Idylls of the Chosen Damned" starts off with a sound sample of a woman laughing in the most sinister way possible amidst lightning strikes and creepy sound effects, showing you what you're in for. The sound as a whole is obviously dark and has a vintage fuzz sound that's super fucking heavy. Mark of the Devil's vocals, even just on the first track, go through about five or six different changes; going from shrieks and shouts to gnarly growls and chants. I'd really say that the vocals are the crown jewel for the album because of their unique range and super evil sound; the creepy laughter and inhaled low growls from "Vintage Black Magic" being a prime example.
The guitar work is really strong and doesn't always depend on typical to the genre tremolo picking, but uses a lot of crunchy (crushing) riffs, similar to a lot of older black metal or more recent primitive bands. Machine manages to create a dense atmosphere without using tons of layered echoing effects like most atmospheric black metal bands use. The riffs even sound, at times, like those you'd hear on a death metal or doom album, while still maintaining a genuine blackened sound all the while. There's also some very nice droning sections that add to the ritualistic nature of the songs, and when paired with the clear, steady and heavy drumming of W. Earl and M.O.T.D's bizarre vocals, sounds fucking terrifying. Minski's bass lines that accompany the whole piece are bold and haunting, maintain a perfect mixed volume, and don't just exist as a rhythm instrument and ultimately fade into the background.
The album, while having a lot of twists, really flows nicely together because of well calculated tempo changes and effect changes, which is impressive because it could very easily have become chaotic and sloppy sounding. One moment it'll be loud and intense, and then the instruments calm down, but still carry a heavy tone. Word samples are also strewn throughout and help connect the songs so they flow together. The songs are all longer in length, which is perfect for the type of record that needs time to evolve such as this. The album ends in a sort of hazy mysterious ambient piece that contains some sparse piano as well, and really seals in the dark atmosphere.
I couldn't pick out a favorite track because the whole album just flows so well together, and I enjoyed it all. With so many changes in speed and texture as a whole, it kept me interested the whole time. One thing that really stuck out about the album that I enjoyed a lot, is that unlike most black metal bands, this was not an album sounding of pure hatred or melancholy. This album sounds more like a celebration of all that is wicked and evil. It's dark, foreboding, and at times somber, but it never makes you feel anything but empowered. This was literally one of the best listens I've had in a long while, and this album definitely gets my vote as a classic in black metal.
Proving that you don't need to be indie/shoegaze/alternative/post-crock/post-hardcore/drone-influenced to be legitimately artistic, this Polish black metal album rises above both its first wave styled contemporaries and the "artsy" stuff of today.
Its base components are made of dirty, primitive riffs that are at times nearly abstracted to early Beherit levels, although they use a wider range that call to a variety of blackened schools. You'll hear Mortuary Drape, Blasphemy, the aforementioned Finnish band, Sarcofago, Mayhem, and other such familiar sounds. However, Cultes des Ghoules arrange them in near ambient layers, driving in a central motif into your skull like in an abusive occult ritual before progressing to the next level of depravity and transgression. Ritualistic cymbal rolls, varying degrees of ghoulish vocal incantations, hypnotic riffs - a variety of techniques are used to create "atmosphere" not for its own sake, but to create moods meant to be violently broken, with each successive destruction revealing something more horrific.
This is mostly an improvement over the debut, Häxan, although occasionally it does drag a bit with its very longwinded approach. Still strongly recommended for those that want a deceptively advanced take on "primitive" music.
Quite often in Metal the albums that really cause stirrings of attention are the ones that cross boundaries between the multifarious sub-styles and tread along those lines, and Henbane is one of them. On their début, Häxan, this shadowy Polish 4-piece threw their lot into the pool of purposefully primitive Black Metal and caused a fairly respectable ripple, but this time round with those elements of pure sonic degeneracy and bestiality, including the raw and dense production, taking a back seat to a more atmospheric approach. In terms of crafting music of pure Black Horror this album nails it more than most.
It employs a lot of the same tricks as other horror-themed acts, like for example the countless bands who sample movies like “The Devil Rides Out”, but the care and attention to the atmosphere here shows a step above and beyond most of those lazy peers. Take for example the effects placed on the vocals in the middle of “The Passion Of A Sorceress” that give it that authentic Richard Price sort of feel, or the intro sample from that song which I suspect might be from an Eastern European production of Shakespeare's MacBeth. More than that though, the way these 5 lengthy songs are structured shows a rare understanding of the actual literary devices of the Horror genre that most bands content to play about with the imagery couldn't even dream of, and on the centrepiece track “Vintage Black Magic” the flow between building terror and unleashing horror is downright masterful.
Where they straddle that aforementioned line is how this fairly avant-garde streak is matched and tempered by some genuinely nasty and primitive Black Metal noise-mongering. Where the beefy, bestial DM elements remain the riffs are thick and stenchy while in the faster moments the proto-Black/Thrash of Tormentor is heavily evoked. Other Eastern European bands like Root and Master's Hammer are called to mind too for their primitive riffing style and at times there's some of that cloistering exoticness of Mediterranean bands like Mortuary Drape and Necromantia too but the best overall comparisons that can be made are to Mayhem and Negative Plane- in part sonically, but also in how finely that line between utter mongrelist musical deviance and intelligent songwriting is walked. Very few other Black Metal bands have ever traversed that division as uncannily as Cultes Des Ghoules do here.
The matching of theme to the music is a standout quality too, and cleverly tied in with a visual representation of the eponymous herb henbane growing out of the band's logo on the artwork. A substance loved by medieval herbalists and witches both for its malign health properties and its mind-altering psychotropic qualities too is a perfect flower to represent this album, equal parts venemous and labyrinthine. Although all the five tracks on here have their strengths it is “The Passion Of A Sorceress” and it's slowed-down blasting and bloody-minded down-stroked pummeling riffs that merge in chaotic fashion that comes across most maleficently, and the dark psychedelia flirtations of “Vintage Black Magic” (similar to some parts of the latest Tribulation) that come off the strongest.
As good as this is at its best though there is still a feeling of something missing. It doesn't manifest itself through most of the album, but on the rather lacklustre closing track “The Devil Intimate” it begins to dawn where this incompleteness lies, and the closing organ solo completely reveals it. As nice a touch as that organ is and does provide a spooky texture it ultimately is a cheap thrill, a musical cop out, and shows an lack of surety from the band of what exactly to do with this anticipation of terror and unveiling of horror they've so successfully crafted over the previous near hour. The mental engagement of the synapses that respond to dread and fright on this albums is damn near perfect, but it lacks that sense of revulsion, that full body and soul unsettling that the few real masters of Horror fiction and film can conjure. It is certainly within the possibility of Metal bands to evoke this, and has been done so fantastically by several bands in the Death Metal realm like Portal or more recently Malthusian. If on future efforts Cultes Des Ghoules were able to harness this power on top of those they have shown here they would be without comparison. [8/10]
From WAR ON ALL FRONTS A.D. 2013 zine- www.facebook.com/waronallfronts
‘Henbane’ is the second full length of the Polish act Cultes des Ghoules, also on the back of two EP’s, two demos and two split releases with fellow countrymen Goat Tyrant and Szron.
When hearing their archaic approach which recalls older styles of underground metal, it’s of no surprise that ‘Henbane’ belongs to a crop of releases that come from the often consistent Hell’s Headbangers label. Whilst bands on their roster might be associated with a conservatism within the genre, pertaining to more orthodox, old school values, this is certainly more than a one-trick pony.
‘Henbane’ consists of five lengthy songs which ooze a cryptic distortion quite similar to Darkthrone’s ‘A Blaze In The Northern Sky’, as if the amplifiers were turned up to their highest levels and the cables were threatening to malfunction. Similar also to that album is also the use of death metal technique which narrates throughout each piece. As a modern band, it would be easy to suggest that this approach runs parallel with recent bands such as Cruciamentum, Antediluvian or Venenum.
Thick, yet cavernous guitars dominate ‘Henbane’ with what for the most part is quite simple riff work that has a murky tone like Hellhammer, and like their successor Celtic Frost, a capacity to create grandiosity out of simple strokes. For instance a song such as ‘Vintage Black Magic’ begins with an undistorted arpeggio riff that sounds similar in structure to Beherit’s ‘The Gate Of Nanna’. When the song shifts into a more aggressive territory, the guitars, bass and drums are overlaid with an eerie, choral synth that is similar to what can be heard on a song such as ‘Sadomatic Rites’ or the mid-section and breakdowns of ‘Solomon’s Gate’ by said band. It’s this simple application and reworking of ideas that makes for very endearing black metal.
Shifting through sinister interludes of organs, pipes and clear, near psychedelic guitars, this is an album that doesn’t initially overwhelm but on repeat listens becomes rather rewarding.
The aura of pre-second wave black metal casts a dark shadow over ‘Henbane’. The influence of bands from the former Eastern Bloc, especially the likes of Root, Tormentor and Master’s Hammer are prevalent here and compliment the grimy, unpolished path of Cultes des Ghoules.
Vocalist Mark Of The Devil is excellent. His execution is rough, throaty and dynamic, and is comparable to Attila Csihar, Dead or Big Boss. There is plenty of rhythmic and tonal depth to his delivery that stands out within the macabre, Lovecraftian ambience.
Where many ‘promising’ releases tantalize on their first listen only to quickly wear out their welcome, Cultes des Ghoules deliver an album that demands attention, slowly unleashing its riches when given repeats.
We've certainly been exposed to more horror-themed metal bands than we can count, not just in past few years but over the course of metal's lengthy 40 year history, ranging from Alice Cooper (not really metal, I know) to Necrophagia to newer exports like Negative Plane, but very few bands from this massed tenor actually succeeding in their conquest of horror. The problem lies not in their lack of musical skills or egregiously erratic preferences in structure or techniques, but their bland and one-dimensional perspective on the whole situation - their lack of detail, proper fervor and innovation - which ultimately create impediments for the construction of a virtually horrific and striking midnight experience. There are tenacious masters who still successfully thrive in this particular field - Antediluvian coming to mind at first - but even these acts have started to corrupt the utterly discomfiting omnipresence of horror in their sound, exploring less deep or less engrossing subjects for the sake of deviating from a topic, a theme that very few has struck the bull's eye at. The rest of the so called ''horror-themed'' metal bands have lost their touch long ago, inflicting cheesy 80's horror vibes at their laughing audience, not knowing, possible, that they are actually giving them more of a thrill than a fright.
Has horror metal not had success in a long time? Certainly, recent acts like Aevangelist, Negative Plane or Head Of The Demon have purveyed fear in a much denser and ingenious form than I would have expected, however, perhaps the absolute horror master of the last decade, or, I daresay, the last 20 years, has to be the latest offering of Polish sadists Cultes Des Ghoules, ''Henbane''. In an outstanding succession, the Poles have jumped not one but several giant steps from their debut, ''Haxan'', which, despite not being appalling, was still just another face in the crowd amid an army of eager old-school black-metal rehash maniacs. ''Henbane'' truly leaped out of nowhere and clawed me into the darkness. It merely guided me towards an unprecedented darkness, it smothered me with such ostentatious debilitation that the shreds and burnt pieces of flesh that came from my body simply entered a disheartening abyss that literally sucked the light out of me. Essentially a composite of proto-black metal and voracious bestial black/death that Blasphemy or Archgoat fans should love to endure, ''Henbane'' is so richly filtered with ideas, innovations and coherent thematic representations that it's nearly impossible not to be wallowed in by it, let alone breathe sanely while suffering it.
The guitars are sodden with a wonderful crunch that's somewhat reminiscent of the traditional Swedish death metal guitar punch taken to a lighter and more flexible edge when they are enraged, and the riffs themselves are actually quite technical and cleverly penned. As tracks like ''The Devil Intimate'' flow with smoldering pretense, it becomes noticeable that Cultes Des Ghoules actually enjoy to plod along with doom-like mannerisms, keeping the speed constant and mid-paced for the most part, and giving that old school doom metal feel. Of course, it's obvious that ''Henbane'' is so much more than the actual riffs. It's demented, deranged atmosphere comes from the presence of an unknown aura that somehow seeps from the raw material of the guitars and forms this horrifically delectable texture that's always there, but you only seem to realize its existence only when the album has finally concluded and when the shadow has been lifted. Vocalist Mark of the Devil's vocal complex is unlike anything I've ever heard; he effortlessly shifts from daunting, frigid black metal rasps to more guttural snarls to even throatier barks that undeniably sound like Freddy Krueger screaming his ass of in an abandoned corner of Elm Street - his inflections are vaguer than you you'd imagine, but for the one who suffers the nightmare that is ''Henbane'', they are as vivid as the puzzling gloom of the cover art.
In many ways, the entwining of the messed up vocals and the beautifully distorted guitar riffs sound like Charon's ''Sulphur Seraph'' with a more grotesque vision of reality. To add to the atmosphere, ''Henbane'' has in store a wide range of instruments of torture, my favorite being the creeping, crawling acoustic guitar sections that are randomly distributed along the album; nightmarish guitar sequences which resonate through the echoing cervix of the album. Amongst others, you'll also find ambient passages aplenty, organ medleys, and bleak periods of absolute emptiness where you're left to realize the pull competence of the album's horror infliction. ''A Passion Of A Sorceress'' was for me the wildest tune in the entire record, a feral discharge of cadaverous, spiking black metal tremolos and chords eventually coupling with a ritualistic image of a witch burning at the stake. ''Vintage Black Magic'' explores the sheer depths of Portal-esque black/death insanity with terrifying ululations of absurd creatures howling as the album sways with a steady, trudging groove. Cultes Des Ghoules neared perfection with ''Henbane''. It does not reflect the imageries of something as cosmic and godly as Lovecraft as many people would imagine, but something far more down-to-earth, with just five tracks at 60 minutes, imagine replacing the unnerving classical feasts on Nosferatu with a wholesome helping of this... Or perhaps just form in your mind the soundtrack of a combustive, utterly sentient ceremony of Aztec jaguar-priests ripping the heart out of a living victim. Imagine the torture. Imagine the horror. That is ''Henbane'', a true compendium of the black arts. And all you have to do to feel it is to acquire it.
Vintage Black Magic
Idylls Of The Chosen Damned
The Devil Intimate
Originally posted on my reviews blog at heavymetalspotlight.blogspot.com
Henbane, more fully; "Henbane, or Sonic Compendium of Black Arts", is the second album by Polish black-metal band Cultes Des Ghoules, and was released earlier this year; I can't remember where I heard about the album, or the band in general, but I decided to buy it blindly, which is sometimes the most enjoyable way to discover new music. When it comes to this record, reading the title is all you really need to do to work out that you're probably in for an interesting listening experience, and I can safely say my expectations were met, and more.
Cultes Des Ghoules bring a lot into their music, both in terms of creativity and influence. Under the flag of raw, scathing black-metal, there are elements as diverse as the chunky but malevolent feeling of A Blaze in the Northern Sky-era Darkthrone, to the dissonant, wailing guitar work of bands like Blut Aus Nord. In this respect, the record manages to feel like vintage black metal, but at the same time, the band manage to assemble it in quite a fresh and novel way; it's not quite a brand-new interpretation of the genre, but it is what's good about it, being played in an exciting way - a very triumphant merging of the old-school with imaginative innovation and a lot of thoughtful song-construction. I think my favourite juxtaposition on the record is the coming together of the primitive and grandiose; pounding, hypnotically repetitive primal riffs and simple but crushing drum-beats merge with a deeply tangible feeling of ambition and direction; the sepulchral atmosphere which the record delivers is more complex than the literal musicianship, but somehow very complimentary to it - something I'd consider to be the great secret of black-metal; that is, the fantastically present atmosphere delivered by chords and beats, which need not be self-indulgent or even technical; instead, the riffs bring with them a horror which only black-metal can. The atmosphere on Henbane can quite well be summarised as that. Not soaring, not majestic, simply downright scary; the soundtrack to being cast into a pit of unseen, shadowy demons, all of them ready to tear you limb from limb. Henbane delivers terror and malice, and captures it very well indeed, with the sheer murkiness and filth-encrusted production really burying the listener in a claustrophobic grave.
One of the crowning features of the record is the vocalist, who has taken a leaf from the book of just about every influential black-metal vocalist around, and the diverse approaches they take to vocal duties really make the album special. A lot of extreme metal vocalists are content with a single style, but what Cultes Des Ghoules remember is that you don't have to settle for just one. Throughout the record, there seem to be influences from half-a-dozen or so vocalists; everything from the dessicated, mangled whisperings like those of Arioch from Funeral Mist, right through to Attila Csihar style roaring, and even the maniacal, melodramatic cackling style of Big Boss from Root. The variety in the vocal department certainly makes the record even more fun to listen to; more dynamic, exciting, and it even makes the atmosphere a little darker. Like the bands first album, this isn't the kind of record I can listen to while reading or relaxing - it doesn't let you, and I'd expect that that's what the band aimed for. Another pleasing feature of the record is that the long songs, and they are rather long, really seem to justify their length. Henbane is definitely not an album which drags along, despite many of the songs on it (read: all but one of them) being over ten-minutes in length. Even with many of the riffs being quite hypnotic and repetitive, they slowly, subtly change and undulate in a way which makes them really enjoyable to listen to, even when a single riff can last for near minutes, or recur a lot through the course of a song, there isn't a single track on the record which outlives its welcome.
Ultimately, if you have a bit of a thing for black-metal which gives the listener the experience of what it's like to be soft, vulnerable corn being ground remorselessly between harsh, unrelenting millstones, this is probably the sort of band you want to be listening to. Henbane, and Cultes Des Ghoules other work too, is exciting, old-school, harsh, murky, malign and very, very well-made. I thoroughly recommend it.
Five years after the release of their instant classic Haxan, Polish Satanic black metal horde Cultes des Ghoules return this year with a vengeance with their follow up full length album, Henbane.
Following up with a highly acclaimed album is always a challenge, but Cultes des Ghoules takes it in their stride as would be quickly evident on the material on Henbane. Similar to their previous exploits, there is a rather heavy emphasis on the atmospheric aspects on Henbane, as can be heard in the intro of opening track Idylls of the Chosen Damned. But things start to go into chaos pretty quickly as the first riffs hit the listener, and on top of the usual black metal stylistics, the band has this time included some slight death metal influences as well, with the furiously trem-picked riffs and the resulting tension being rather reminiscent of the Finnish death metal style, adding to the darkness that is already quickly encroaching upon the listener.
Of course, the band does not abandon their original stylistics, and it wouldn’t be exactly right to say that Cultes des Ghoules has polished up their sound on Henbane, since the music on the album remain as raw and filthy-sounding as their previous releases. Yet things are certainly even more thought out now than before, and this has resulted in a more torturous and harsher listening album. The sound of Cultes des Ghoules range from the classics of Norwegian greats such as Mayhem, down to the bestial style of bands such as Canadian maniacs Blasphemy and bands such as Black Witchery, especially in the chaotic, yet extremely precise style of drumming on the album. Along with that tinge of death metal that is now more heavily present in their music, there are even moments where one is reminded of such bands as Bestial Raids and Antediluvian.
The entire album may be one that is rather difficult to sit through for those unfamiliar with Cultes des Ghoules‘ ritualistic style of black metal, and this is pretty understandable with the amount of unease that the band provides. The clever usage of the different vocal styles of Mark of the Devil is one such technique used, going from tortured, inhuman shrieks to whispers, and even providing some sinister laughs from time to time to constantly test and push the sanity of the listener. Furthermore, there is a constant dark cloud shrouding the music, making the listening experience of Henbane all the more ominous. The long track times also mean that such feelings of doom and desolation can be slowly cultivated within the listener, with the repetitive but trance-inducing riffs proving to be rather effective as they are played and replayed to the listener, with songs like The Passion of a Sorceress sounding like a droned-out version of Archgoat with the simplicity but effectiveness in the technique.
To continue proving their uniqueness, the band also includes non-conventional instrumentation on the album such as the additional percussions on moments like Vintage Black Magic and towards the end of Idylls of the Chosen Damned, giving a nice flavour to the music and complementing the ritualistic mood that has been created.
The Polish necro warlocks of Cultes Des Ghoules are back, and this time they a more learned, cunning and sadistic force for the dark arts, acting as His (read: SATAN) unholy agents on this dying, divided Earth. Henbane is an album made of equal parts dense atmosphere and classic concepts, drawing equally from first wave black metal, second wave black metal, Ross Bay Cult styled bestial black metal and thundering old-school doom metal to create a sound which no other band can truly match. And aided by a brilliant conceptual identity which reeks of rot, witchcraft and occultism, Henbane is the perfect mood music for late nights lost in the misty woods, dripping blood upon the altar of sacrifice and preparing one's body to entertain the ancient spirits.
Compared to Haxan, Henbane seems significantly softer at first: the production sound is cleaner, more balanced and far less dense, and the bands more Bestial elements have taken a back seat to a greater focus on riffs, introspection and mystical energies. But once the incantations of Henbane begin to shake and rattle your very bones, you'll soon realize the massive error in judgement you had made. Sure, it's a more approachable album than Haxan, Odd Spirituality or Spectres Over Transsylvania, but its also a more fully realized, mature and utterly devastating album than anything Cultes Des Ghoules have accomplished to date. The atmosphere is tremendous, using a combination of spine-shattering low end, diverse arrangements, ambiance and perfectly controlled repetition to envelope the listener in a shroud from which they might never escape. Henbane also frequently and masterfully makes use of sounds and samples to further amplify the already over-whelming atmosphere on the album, creating moments of somberness, insanity and suffering. Whether it's the ringing of a death knell, the chants of withered witches or the bubbling of a rusted cauldron, the use of these classic and spooky conventions further intensifies Henbane and gives it a rather charming novelty which is impossible to deny.
Though it's still all about the riffs with Henbane. It's got more of them than you can shake a crucifix at: thundering, Doom-y, Thrash-y, dissonant, melodic, noisy riffs which give off an equal mix of To Mega Therion, De Mysteriis Dom Sathanas and Angelcunt (Tales of Desecration). "The Passion of a Sorceress" drips grime and filth, and the bass and drums combine to flatten mountains: at 2:25, prepare to have your skull force-fucked by damnation right off your slender, weak spine. Vocalist Mark of the Devil is simply inhuman as he moves from yelps, shrieks, growls and moans. He brays at the moon and screams like his testicles have been forcibly removed, he chokes on his own tongue and whispers ancient enchantments into your ear. He simply dominates this album, and his ancient and desiccated style fits perfectly with the tomb-dwelling riffs. "The Devil Intimate" becomes a truly terrifying sojourn, led through the bowels of Hades by the hand of Virgil, and slowly builds to a horrifying and frozen crescendo in the icy halls of the Ninth Circle. Once again, Mark of the Devil pulls out every vocal trick at his disposal and acts as the most ferocious and demented barker ever, while the skull crushing riffs and horrifying organ (so fucking wicked) act as a gory and pestilential back-drop to the madness.
Awesome honestly doesn't even begin to describe what Cultes Des Ghoules have achieved with Henbane. This album is such a fresh and fascinating take on classic extreme metal sounds, as well as classic horror elements, which makes it one of the most enjoyable and charming black metal albums I've ever heard. For an album which creates such an unholy and inhuman atmosphere, Henbane is also an album which, for lack of a better term, is a hell of a lot of fun. Its an album which conjures up old fears from your childhood, an album which brings you back to the first time you head-banged to a killer riffs and an album which can appeal to all the musical complexity you desire in your advanced age. All aspects are satisfied, and the Devil will get his due...
Horror. Despite the best of intentions, it's a lot harder than you would think to evoke within the realm of music. Even metal music. I can't count how many records attempt to sound morbid and threatening but miss the mark on the sheer grounds that they've got no thought placed into their construction, no balance of atmosphere and riffing, or such a sterile and brickwalled production that they have no impact other than the technicality of their riffing. Slasher flick samples and misogynistic lyrics just aren't gonna cut it, folks. Within black metal, the problem is one of too many cooks in the kitchen copying one anothers' recipes without understanding the baseline inspiration of the very best. The same Anti-Christian lyrics, the same riffs, the same blast beats, and the same imagery can only be evoked so many times before they lose their 'edge', and many would argue that the once sharpened spikes of this niche became blunted long ago.
Well, Cultes des Ghoules of Poland are a band that understands the notion of horror all too well, and it permeates...suffuses every second of their sophomore outing Henbane. Despite its comparable atmospheric cultivation and a marginal appreciation for its back-to-basics black metal, I actually was not a fan of their 2008 effort Häxan, but its successor manages to iron out nearly every flaw. This is a daunting, mesmeric experience with a lot of character, a lot of surprises, twists and turns and corners from which leering specters might leap out and feast upon you. Chief among these is the vocalist 'Mark of the Devil', whose panoply of decrepit snarls and growls will haunt you in ways that few others are capable: maybe Atila Csihar, perhaps It (ex-Abruptum), but this guy is a nightmare given throat. Coupled with the male choir chants, organs, bells and other percussion arrangements, he manifests a ritual appeal to the album which is the metallic equivalent of a morgue full of corpses suddenly stiffening up to a seated position and having a group conversation. This was already a component of their earlier material, but here it's got so much more breadth, depth and schizoid dementia than I would have expected, and it would sell the music by itself...
Fortunately, it doesn't have to, because the music is also up to the task. One of my gripes about the debut was that the riffing progressions often felt a little too basal or mundane to really match the atmospherics, but with Henbane they've ramped up this aspect of the writing so there's an added level of texture and nuance. I still felt as if some sequences were excessively repetitive, which is to be expected with track lists that are generally eclipsing 10 minutes (some closer to 13-14), but there's a staggering variety to this material which more then makes up for a few unnecessary added cycles. You've got some straight, traditional tremolo pick permutations through pieces like "Idylls of the Chosen Damned", but quite a lot of solemn, blackened doom grooves that represent most of the more catchy moments of pieces like "The Devil Intimate" and the heavily ritualistic "Vintage Black Magic". The rhythm guitar is dowsed in this raunchy, beautiful fuzz which gives Henbane a primacy that relates it back to the early 90s and the dawning of this genre, but the bass is also quite fluid and flowing, the drums crashing along with a plenitude of fills and samples that help round out the compositions with a live feeling, like you were listening through this in some walled-in outdoor garden where the titular, psychoactive herb is grown in secrecy.
There's a particular, unnatural reaction I had to this music which I've traditionally only had when viewing some understated masterpiece of dark film and fiction. Nosferatu. The Seventh Seal. The original Wicker Man. Hammer Horror. Argento or Fulci. Lovecraft. Stoker. William Hope Hodgson. Arthur Machen. We're not talking cheap thrills, a knife in the dark, Freddy Kruger bullshit, or Paranormal Activity airheads. No, this is a tangible, spiritually draining experience which taps into the listener, overrides its survival instincts and then drags he or she towards its maw. A vast, vampiric insect building its web. It utterly destroys the band's debut, and most everything else I've heard lately. In fact, this is such a well-rationed amalgamation of the refreshing and archaic that I can't think of much else like it. Perhaps the superb Head of the Demon debut is close, but Henbane is even denser with ideas. Mandatory, riveting and astonishing, an album I've come out of much different than when I went in...