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A Story of Hits and Misses - 70%

dipym666, November 17th, 2014
Written based on this version: 2012, CD, Dark Descent Records

Binah? A pretty intellectual name for a band once I googled its meaning. The band hails from England whose death metal scene has been comparatively dormant compared to the prominent ones in Europe. ‘Hallucinating in Resurrecture’ is their first release and the best way to describe them is that they play a mid-tempo version of Swedish death metal along the lines of Carnage, Nihilist, Entombed etc. While these great bands of the past relied on a heavy dose of brutality, Binah take a slight detour by developing passages laced with atmosphere.

It’s always a risk these days to play around with the buzzsaw Swedish death metal tone considering some of the mediocre releases that are plaguing the scene at the moment. I say again, it’s a big risk indeed. After a creepy interlude “Into the Psychomanteum”, Binah get down to business with “Morbid Obumbration”. The sound is massive but the track leaves me with some apprehension as it seems like a diluted form of the classic Swedish death metal sound. Things get a little lively after that. “A New Rotten Dawn”, “The Emissary” and “Absorption into the Unearthly” and “Dissolution” are fast numbers which get the ball rolling and this is something that patches the album together. Some of these songs have fantastic riffing passages that pay homage to old classic Swedish death metal. Then there’s songs which focus on the creepy atmosphere and are mid-tempo in nature, like “Hallucinating in Resurrecture” which manage to convey that dreary feeling and no doubt they add some variety to the album, but they pale slightly when compared to the faster ones. Binah are great with the fast songs, but not so with the mid-tempo ones as they tend to drag a little bit. If I have to complain about one more aspect, it would be the production. The vocals are buried in the mix a little too much and the bass and guitars overpower the vocals. Had the sound been a little more open then I believe the album would have been even more powerful sounding.

Considering that this is Binah’s debut, it is a good one; no doubt about that. There are glimpses of the band’s future potential on display here but need to be harnessed properly otherwise they will join the bandwagon of any other new Swedish death metal band

Hallucinating In Resurrecture - 75%

Infernali, September 13th, 2012

This rather elusive band from the UK is comprised of a trio of accomplished musicians and wasn’t particularly taken with the album cover which seems rather cheesy and amateurish compared to a lot of art work that adorns death metal albums these days. This trio has decided to incorporate keyboards into their music, which doesn’t mean wishy washy diluted death metal at all. The eerie intro is very creepy like the demented wranglings of someone incarcerated in a lunatic asylum before the epic “Morbid Obumbration” fires up the album properly. The song builds like Incantation with a dense sound and layer of keyboards inbuilt that create good power and a haunting feel. Once underway the song morphs into titanic death metal that tackles everything old school and gnarly. The sound is predominantly Swedeath but there is the odd hint of Dutch deathliness and even the more doomy Finnish variety. The vocals are a beastly roar and fit the sound perfectly, horror filled and dread like.

The layering of keyboards has some touches of very early Amorphis, and also the density reminds me of Séance and Cemetary debuts in the early 90s to reference a couple of acts outside of the normal comparison parameters. The guitar sound has some familiarity with Carcass’s second release but with the whole album being tempered by keyboards it sounds far more airy and atmospheric especially on the next mammoth tune “The Emissary”. The doom death riff is crushing, an adjective used a lot to describe death metal, but I really mean it, it truly is and with the pace rolling along slow but pulverising the song builds like Dismember, especially with the buzzsaw guitar tone. The riff change is awesome and accompanied by double kick that sounds like Bolt Thrower. The guitar lead that saunters around in the background is menacingly mesmerising as though its trying hypnotise you, as the closing section of the song possesses a magnificent melody. The much, much faster “Absorption Into The Unearthly” is proper Swedeath no more no less, the groove is colossal, the speed is rampant and the vocals sound like they are ripping your face into an amorphous bloody pulp. It is quickly followed by “Eminence Of The Sombre” which has that undercarriage of keyboards used for atmosphere as I said. This album is split really over four massive epics that are interlaced with shorter tunes as the third big song here is the title track. Again its doom death to start with as the song dips down to a crawl like slither that threatens to escape during the guitar harmony only for it to be drawn back with powerful, oppressive riffs. It is good to hear vocals that fit and have a degree of clarity that go beyond your usual gut gurgling bellowing belches. Half way through and the tune is resolutely oozing doom death, it’s extremely creepy, makes you look behind you as though some demon is watching from the dark recesses of your mind, taunting and laughing at your own inner fear. This aspect continues until the song picks up the double kick ready for a schizophrenic shift to a monumental riff and blast section. An amazing piece of death metal, every person into death metal should hear this tune.

“Dissolution” is the manic hyper blast before the last epic of “Crepuscular Transcendence” as it appears the vast majority of song titles are aligned with references to things being dim, dark or dusk like but I could be reading more into it than necessary I guess. The song begins with acoustic guitar work and a gentle cymbal tap that has some light bass in the background, that wouldn’t be too amiss on an early Opeth album. The drums join in and so does the merciless riff that explodes into the song like a supernova. Each cymbal and drum hit feels like it reverberates through the fabric of your soul, it is punishing and when the blast hits like tank fire, it is obliterating. For a change the outro ends the album well instead of being something just tagged on the end of the album, like a proclamation that you survived “Hallucinating In Resurrecture”.

Originally written for

Forecast: cavern walls, cemetery ceiling, darkness - 80%

autothrall, July 25th, 2012

The last thing the world needs right now is another of these cavernous, old school death metal throwbacks, but that doesn't stop Binah from shoving that sentiment straight up my nether region, or excelling at this particular sound. This UK band didn't get the memo. To be fair, Hallucinating in Resurrecture is not nearly so derivative or 'second hand' as one might think: they might use the ominous, growled vocals redolent of Autopsy and Incantation, and some of the muddier and haunted resolution of Finnish pioneers like Demigod, but they apply a particular atmosphere to them that keeps the music creepy throughout. They might also utilize that driven, voluptuous Swedish guitar tone so commonly aped from the early 90s, but they use it more as a broth to season and saturate their ideas rather than a vehicle for riff lifting from Entombed and Dismember.

And ideas they have: from the eerie, saddening pulchritude of the clean guitar instrumental "Into the Psychomanteum" (or the later intro to "Crepuscular Transcendence"), to the fits of melodic tapping and other lead techniques that seem to arrive out of left field ("Eminence...", etc) against the enormous, dominant grinding of the rhythm guitar. Binah, so named from kabbalistic philosophy, implement the dynamic skills of seasoned travelers into the darker wastes of the psyche through dramatic tempo shifting and pure, unadulterated horror. The result is that the listener feels as if he or she is some unfortunate asylum inmate where it turns out that the warden is also an occultist who has just opened the gates to the Abyss, and as payment has offered up the souls of his patients in return for a grotesque immortality. Tracks like "Absorption Into the Unearthly" and "Eminence of the Sombre" will churn your spirit to paste with their manifold blasts and grooves, each sauced in the loud and primitive density of that weighted guitar tone.

Perhaps my favorite single element to this album is the growl, which is incredibly bleak and full and left to resonate over the busier undercurrent of guitars like some subterranean slavemaster traumatizing his flock. It's simply mortifying, even when the riven rhythm sequences and the tactile drums are performing the less interesting of the riffs. In truth, I didn't feel like there were a lot of catchier note progressions outside of the leads. Binah seems to have such an intense focus on production and atmosphere that the songs do tend to fall by the wayside, but then I could say the same for most of the group's peers pursuing this same path. In the end, ironically, it is this very specialization that itself burns Hallucinating in Resurrecture into the bowels of memory. This is hellish, disturbing music which admires its genre fathers from fathoms beneath the earth, enough distance that the vast and tenebrous scope of its production pays off in nightmares. Fans of Sonne Adam, Necrovation, Ignivomous, Disma, Incantation, and of course the Finnish/Swedish revival will likely want to add this album to their wish lists. Just turn off the crush control, and wallow in the fear.