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A band’s decision to remain anonymous along with playing shows donning hooded cloaks and barely interacting with the outside world may come across as pretentious and gimmicky to some, but one listen to Sacred White Noise will prove that Thantifaxath are something else entirely. Effortlessly combining otherworldly progressive passages with atmospheric black metal, they make their influences known while stamping their own creative mark. Dizzyingly technical guitar work and freneticism truly challenge the resolve and endurance of the listener almost constantly. Even within the context of black metal and extreme metal in general, Sacred White Noise is especially grating and simultaneously brutal in its relentless assault alongside the grim soundscapes and interludes. The vocals are especially tortured and discordant alongside the auditory madness, screeching of the celestial and the otherworldly.
An immediate reality Sacred White Noise makes apparent is how hypnotically nightmarish the experience will be straight from the opening track. With crushing brutality and viciousness more commonly associated with death metal, Thantifaxath does away with genre tropes and instead opts for a blend of styles in their own unique way. Dark psychedelia and beautifully apocalyptic soundscapes permeate the senses to create a visceral and at the same time transcendingly hellish listening experience. “Where I End and the Hemlock Begins” shows how skilled Thantifaxath are at building up and then letting loose their apocalyptic fury. Incendiary black metal sections are traded off with proggier passages for the first few minutes until an explosion of fury erupts in the form of dense walls of guitars and blasting drums until finally shimmering down into a mysterious sounding clean guitar, slowly building until the next inevitable attack.
Much of Sacred White Noise consists of dense psychedelia and eerie atmospherics that permeate the psyche, resulting in some truly unsettling and tormenting moments exhibited perfectly in the instrumental “Eternally Falling.” Dissonant violins paint a bizarre picture alongside gradually building guitar until once again leading into the next aural assault, “Panic Becomes Despair.” Tremolo picking guitar and frantic blasts make up the first half until a maze of descending guitar lines take over, and right when you think the song will transition into a calming atmosphere, the blasts suddenly come back and the riff is repeated over harsh shrieks until the dissonant static ending. Most of the album consists of lulling the listener into a false sense of security with either atmospherics or moody melodic passages before suddenly exploding in the listener’s ears with the most ferocity and torment likely to be heard in any record all year.
The most otherwordly and hellish track closes out Sacred White Noise running at an epic eleven minutes long, “Lost in Static Between Worlds.” Demonic sound effects set the mood until the first blasting section, which then gives way to insanely fast guitar tapping over frantic drum soloing and hellish effects. This is the true crescendo of the whole album, every instrument in a state of complete chaos. It finally climaxes into a clean guitar lightly strumming jazz chords. But soon a heavy, dissonant breakdown crushes over more hellish shrieking, “Where are you?” The sheer emotion and power of the question is desperately repeated over some of the most tortured sounding tremolo guitar picking, once again transitioning into static and sound effects closing out one truly hellish listen.
One of the only complaints to be made is the surprisingly short length of Sacred White Noise. A six minute interlude track, and static intros and outros results in under forty minutes of actual music. While this could be a detriment in some cases, it ends up mostly working for the album. The overall listen is so dense and spiralingly hypnotic, part of you will be glad it’s over. Criminally overlooked, Sacred White Noise is a truly unique and otherwordly listen that all fans of boundary pushing extreme metal will appreciate and puzzle over for years to come.
Thantifaxath are another technical black metal band making waves in the independent music community, and not without reason; this is certainly an interesting and entertaining record. However, I have a feeling that a large amount of this band's critical acclaim comes from being in the right place at the right time, not to mention their wanting to keep their identities secret. It's a good album, no doubt, but I don't find it anywhere near as mind-bogglingly good as many have claimed this to be.
Upon this album's initial release, I tossed it aside and spat about how unoriginal it was. The truth is, this isn't entirely original, but it's still rather distinguishable from this album's contemporaries. Thantifaxath structures their songs in a very coherent and grabbing way, and you can tell that the band spent a good deal of time ensuring this album was well-written and thought out. The opening track, "The Bright White Nothing At the End of the Tunnel," kicks things off with a spiraling, constantly-moving guitar lead that surges through the track until it leads into some more standard black metal riffs. Retched, half-yell-half-rasped vocals overshadow the instrumentals with an ominous beckoning, coupling with fast, progressive-styled riffs to create a speedy, dark chaos.
The entire album isn't necessarily fast, however. The track "Gasping in Darkness" showcases some doomier, more entrancing melodic work while the following track "Eternally Falling" spends time heaving slow strings and nightmarish guitar passages through the air, slowly forming a haunting, spiraling haze until the next track bursts in with stampeding might and heaviness. The closer, "Lost in Static Between Worlds," crafts a very evocative atmosphere with its clean-guitared, stringed intro before blasting off into a very dissonant, yet slow and doomy cavern of riffage, gnashing through walls of blast beats and emotional chord progressions. Probably being the best and most creative track on the album, this song closes with a depressing, apocalyptic wall of chords and atmospheric leads.
Despite its recognizable style and atmosphere, however, Sacred White Noise is unfortunately missing a bit of punch. It's certainly produced well, but none of the music really pops out at the listener; rather, it lingers around like background music, and can easily be breezed by unless the listener has a fixed focus on the music. Though with the right attention span, this unfortunate error can indeed be overlooked, as the music's composition is overall rather fluid and showcases a varying array of talent from this seemingly young band. Favorite tracks: "The Bright White Nothing at the End of the Tunnel" and "Lost in Static Between Worlds."
It's generally not a good sign when you can't pronounce a band's name for a good amount of time even after buying the album. However, with a name like "Thantifaxath" it's hard to skip past this band when browsing around. Names of demons and like are found in very lo-fi underground black metal bands, so it's initially what I embraced for when giving the album the first spin. To this day, after almost a year, this is still an album to be marveled at.
Opening up, the star track of the album, "The Bright White Nothing At the End of the Tunnel" pulsates a low rumble and an organ's keys being pressed seemingly all at once. The dissonance is an initiation of sorts, going on for twenty seconds before the first riff. Four repeats, and the other instruments all come in. The subtle introduced baseline and drumming morphs into a complex flurry and the initiation ends. You are now reaching the bright white nothing at the end of the tunnel.
Monstrous guitar riffs are this album's feature. As opposed to the general tremolo picked style of riffing that black metal has inherited, Thantifaxath go for dozen or more note riffs and like to play in a very classical music structure, generally using lots of different time signatures and changing every four measures. As "same-y" as the changing every four repeats is, it works so well on this album it's a key point to the perfection of it. There's generally enough change in the vocals and complexion in the drums for it to fit nicely in what is generally eight measures. Vocals, from start to finish are screamed very loudly with more than enough reverb. Little effects are used, which is a nice step away from computer ridden black metal. All instruments are organic, and give a nice clean sound.
Start to finish, this album experiments with all different ideas in the black metal realm, with songs that have ambient, intros, blasts, slow sections, and every other thing that's found in the realm of extreme metal. The most amazing thing though, is the use of things That are much more avant-garde. Never have I heard music quite in the realm of what is done in this album, and it's probably what made it earn the place in my heart it has.
All of the tracks are stand-out tracks, and for me it changes when it comes to what tracks I enjoy the most. This album has to be planted in rotation to grow, because I remember upon first listen I felt disappointed. There's truly something for everyone here. Slow haunting tracks like "Lost in the Static Between Worlds" and loud, thunderous speed driven tracks like "Panic Becomes Despair". It took awhile to finally come to the perfect album, but there is no more deserving album than this.
Prefaced with a noisy cluster of tones, Sacred White Noise greets the listener with an unbelievably striking 24-note melody that serves as an excellent introduction to the album’s queasy sound. This melody, although rigid, is far too unforgettable to be called angular. The mesmerizing main theme in “The Bright White Nothing at the End of the Tunnel” actually has three measures in 6/8 time followed by one in 3/4. Don’t worry though, even if you can barely count, every last note will be branded into your psyche. Many of the album’s riffs have a similar flavor to this, memorable despite the uncommon ways they divide up the measures before pummeling you with entrancing tremolo picking.
As a whole, Sacred White Noise successfully straddles the line between being weirdly progressive and traditionally black metal. Thantifaxath’s approach is harsh (especially the maniacal vocals), yet they maintain a strong balance by never delving into technical exercises, pure angularity, or dissonance worship. This puts the band in the same general family as later-era Enslaved, but in a dark corner of the musical map somewhere in the wide gulf between Dodecahedron and “The ConstruKction of Light” era King Crimson (and yes this means there is “bass you can hear” and it’s pure bliss)
Sacred White Noise has an incredible sense of flow. The song structures are engaging and even the segues from one song to another reveal that Thantifaxath clearly sees the big picture. Sacred White Noise is a proper album, not merely a collection of songs. Another interesting facet of the band is how much of an elegant sense of horror they have, think The Axis of Perdition but more implicit. Precise pick slides, the tinny childlike vocals on “The Bright White Nothing…,” the pale choir transition from “Where I End…” to “Gasping in Darkness,” and the mournful gypsy-esque violins - all enough to make your skin crawl. The element of fear also really helps keep the album from coming across as too sleek, despite how heavily produced it is.
While the band has a fairly heavy reliance on time signature or rhythmic shifts as the pillars of song structures, everything always comes together in a fantastic, and unexpected, way. This is because the band really overcomes metal’s tendency to slack off on the melody in favor of rhythmic (or arrhythmic) chugging. Hell, even the instrumental sections share this work ethic, having worthwhile and nuanced melodies that tie into the atmosphere without merely regurgitating the same notes. Despite the band’s weirder riffs and prog tendencies, Thantifaxath never loses sight of the overall mood and always clutches onto a powerful atmosphere. Sacred White Noise is more refreshing than sticking your head out of the window into a blizzard, listen to it. Now.
Originally written for Contaminated Tones.
I had heard a tune off this album some weeks ago, probably via a friend's YouTube link, but for whatever reason the Thantifaxath debut slipped my mind. A mistake, as it turns out, because I've now listened through this a dozen times, fallen completely in love with it and can't stop subjecting myself to its sense of eloquent opacity. What these hooded, enigmatic Canadian mystics have essentially pulled off is a rather original spin on what some might dub a form of 'psychedelic' black metal; only unlike the trippy artists this tag has previously been foisted upon, like Finnish spacemen Oranssi Pazuzu, there is a more cinematic sense of tension, release and wonder to these tracks which is simply unforgettable.
It's black metal, sure, but with a range of strings and ambient accoutrements that so delicately balance off the harsher vocals and riffing. We're not talking aimless navel-gazing, but purposeful, sweeping anthems for the sodden, captured in simplistic but effective chord patterns that have the texture of some city corridor after a rain has subsided. Rhythm guitars don't encompass techniques that we're unaccustomed to, per se, but the selection of notes here has an uncanny knack for infecting the mind even without the catchiest of progressions. No, there is something ornately mechanistic about the album that really registered a mood...a nostalgia for a life I've never lived. Unique urban bewitchment that I simply don't encounter often on record in this medium. At points it felt like Voivod and later Enslaved jamming out some score for a formerly silent film 80 years after the fact. Dissonance and drama shifting about a black and white stage in the form of human thespians, and yet such specific aesthetic definition can't really even begin to cover this...
All manner of haunted, unexpected melodies are harbored over these six tracks and 44 minutes, but what really drives them deeper is just how fluently they are mixed against the raucous bark of the front man. The bass lines are strong, viscous and flexible to each rhythmic configuration while not mocking the listener by boringly cloning the guitar patterns. Strings and orchestration are very often understated, simple supports for the guitars which cast a theatrical shadow, the sense once is alone in some cinema, but for the ghosts running the projector. Tremolo picked harmonies are beautiful, often lighter than air, at other times droning and depressive. The drums are pretty evenly delivered, with some force to the snares and a solid kick tone, but to be honest they do somewhat dissolve against everything else happening, not for lack of volume, just lack of brightness. Further embellishments, like the tonal chants that inaugurate "Gasping in Darkness", or the ringing, spacious guitars set against the shrill strings of "Eternal Falling", are just breathtaking.
There is no other way I can state it.
Sacred White Noise indeed, somewhat shy of perfection, and I'm a little worn out on this sort of cover image (though it does fit the songwriting). That said, this is easily among the most intriguing experiences I've had with metal in 2014, or any music, for that matter. I feel shameful giving my Canadian neighbors any more credit than I already have, but without John Candy and Dan Akroyd to vent my jealous frustration upon them, I concede that this is extremely goddamn awesome. At least this time it's not from Quebec, right? The wealth is spread. Resonant, wonderful music. Nightmares and lightmares. Thantifaxath joins Hail Spirit Noir, Spectral Lore and Funereal Presence at the top of my curiosity fulfillment shortlist as far as recent black metal.