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Paimonia is a derivative of Paimon, one of the many Kings of Hell and one of the most loyal to Lucifer; a perfect name for a black metal band. The duo of Paimonia hail from Serbia, and have been indulging in their dark arts together since 2011. The year following their formation they released a four track EP titled Modern Way of Distraction, and have now followed up with their first full-length, Disease Named Humanity.
With so many new black metal acts relying on a myriad of tremolo scales and double bass infused blast beats, it's almost always refreshing to hear new material from the genre that doesn't include these features in abundance. Unfortunately, Disease Named Humanity is not one of these revitalizing endeavors, but instead succumbs to the same fate in a different way. The principle of disappointment still lays within the guitar and drums, in that they both stagnate themselves by relying on redundant techniques that become mundane and lose their early instilled charm less than halfway through the content.
The guitar preys on diminished sounds, not necessarily as full blown chords but rather a picking of the chord strings in a disorienting order to create twisted arrangements; mixed in are also hard, quick one-strum riffs that have queerly placed rests. This type of composure works well for the first couple of tracks, however the listener will soon clue in that this style will create the mainframe and internal body of the rest of the content. Some of the tracks have acoustics incorporated into them, for instance "Ruined from Catharsis" begins with a classical acoustic arrangement with a slight Spanish influence; this element also appears again later into the track where it becomes mixed in with a sudden burst of volume that overpowers the other instruments. "Opus VII (Through the Endless Phantasmagoria)" is the most unique of the songs to appear here, being an instrumental comprised entirely out of atmosphere and an acoustic guitar.
Falling in with the same issues that plague the guitar, the drums are constantly weighted with rapid double bass kicks and tons of blast beats with quick odes to other kit elements whenever the drummer feels like branching out to smack the hi-hat and toms. The double bass fills nearly the entirety of the background, for almost the full longevity of the album; the only exception being when the tempos slow down, but often the drums are taken out of the picture completely when this happens. Going from hasty to placid, the tempo changes happen often and in nearly every song, making them easy to predict further into the album. The only aspect of this content that cannot be predicted and that doesn't become monotonous are the vocals, which are full of passionate energy as they exert shrill, ghostly wails.
Unfortunately the content that lays within Disease Named Humanity is too stagnant, causing the tracks to be too similar to one another. Paimonia have an awesome sound that's unique, they just need to be able to harness this power and utilize more creative compositions. The tempo changes occur at the same time among a track listing where every song is almost the same length; this causes the predictability to skyrocket and make the material lose it's charm. As well, the rare inclusion of acoustic material does little to offset the redundancy of the same guitar and drum techniques that are used endlessly.
Digital Download Provided by: Paimonia
- Villi Thorne