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Eccentric Black Metal - 95%

serafimsott, November 20th, 2013

An album with this cover that begins with a sax melody has many ballots to surprise...and it does. But it's not going to eccentricities or elitist avant-garde, and although the fore-mentioned intro binds it to the first issue, everything remains in a pure anecdote. What we find then is a music aggressive, extremely intense and varied, and that's where the surprises come from.

In fact the variety is such that it is not easy to place them in a particular genre. At first it looks like Post-Black, but neither the voice nor the rhythms always fit in that classification, except on track like “Kraanerg”, nor are there the languid melodic reveries frequent in other parts. And do not think anyone has made a mosaic from heterogeneous parts of different genres, at all, diversity does not take away even a thousandth part of cohesion to the disc and the set is a monolith, music in one piece and perfectly consistent.

The album has some formidable guitar arrangements and meticulously work off when the topics, interweaving riffs, phrases, arpeggios and solo sections lead to some amazing textures. It is also executed with a true sense of the dynamics and contrasts, which further underscores the intensity of aggressive passages. The voice however, is far from the spirit and is too monotonous, both the timbre and the way of singing (with honorable exceptions like “Carnivora's Lair”) and even their rhythmic patterns.

Also would have been nice to have somewhere more catchy, such as “Grand narcotic harvest” or “Necroscope” or fragments that give moments special ephasis on each topic and make them recognizable. Fifty-three minutes of music input is good news and in this case a sign of creativity, but its own density, except that only two songs last five minutes – threatening at times to choke, another reason to have given moments to songs to breathe and at the same time guide the music in a certain direction.

In any case, the band demonstrates talent, ambition, love for work well done and an admirable maturity on their first full album, but have been active since 2005. By the way, the saxophone reappears in the long “Black Nerve” with a brief but interesting way, confirming that the presentation at the beginning of the disc was not anecdotal or, at best, a strategy to capture the listener's attention. The album signs off with a correct version of a song from the David Lynch film “Eraserhead”, adapted to the style of the group itself and with reminiscences of PECCATUM.