Kénôse

With Kenose Deathspell Omega's future was put on debate. On the one hand, the 'kvlt' guys were disappointed by the more experimental direction that the band was taking. On the other hand, those who hailed SMRC for some traits of experimentation that were present there, were pleasantly surprised by that direction. As for me, I certainly believe that Kenose is superior to SMRC in various ways, including the compositional techniques and the production which made the EP far more enjoyable than SMRC.

The band would not stay in their usual black metal style for long, that was obvious since the release of Si. But here they take their sound one step further, into a form of math rock structures and, since they're known for being influenced by such groups as Ved Buens Ende, and jazz ideas. Actually the jazz chords, that from Kenose and one became a stable element in their works, grants the EP its originality. Everything in here is enigmatic, no clue is given to the listener and one must figure the meaning all by himself. All in all, classic Deathspell stuff. The EP isn't hard to digest so you will probably start enjoying it quickly (maybe from the first listen), but don't think that merely enjoying it will be enough forever. If anything, Deathspell's works gain even more charm when they are viewed as complex riddles and not plain albums. This is one of their most complex to date, as it deals with the usual theological concepts, but from a different perspective. Here, they explore two religious phenomena; kenosis and plerosis which deal with the value of human will next to the divine will, or in other words becoming God's instrument and erasing your own desires. Yes it's weird and yes it's complicated but that's exactly how it is supposed to be isn't it?

Musically, this comes close to pure chaos and yet it doesn't touch the chaotic feeling that they mastered with Fas. From the drum pattern at the beginning, to the soaring dissonance at the end, Kenose is replete with great moments. For instance, the outro of the first song is mind-blowing with its calm melody, or the riff right after the eighth minute mark of the second track which creates a horrid atmosphere. Those moments and many more, set the background for Deathspell's evolution, thus becoming vital for the band's history.

Every instrument adds to the result in its own way. The guitars spawn forth visceral, dark riffs in all three songs, but as the music progresses, their violence gives way to morbidity. The bass performed by Khaos, is simply fantastic. Khaos' approach to his instrument is quite unusual, as he chooses not to follow the guitar whenever that's possible. His style is probably influenced by such genres as jazz and progressive rock and he crafts eerie and crushing basslines displayed throughout the whole EP. The drumming is frantic when needed but it often turns to more mid-paced patterns. Mikko delivers the vocals in a great manner and while Kenose is not a career best for him, he certainly stands out in his own way.

Kenose marks the beginning of a new musical path for the band. From Kenose and on, the band started to approach their music in a jazzier manner and departed from their strictly elitist 90's black metal origins. It is a bridge between SMRC and Fas. While it is easier to focus on Kenose than on Fas, I would still pick the latter any day of the week. The same does not apply for SMRC. Kenose has a more reasonable length and it is clear that it has been carefully composed. There is no part in here that feels redundant or out of place.

Being a link between two albums however is a reason to spend time with it. One cannot understand Deathspell's trilogy if he doesn't listen to their mini albums, thus Kenose is an essential release for people who enjoy the band's works. In the end there are many reasons to urge you to listen to this. More than enough actually. It might not be my favorite among their other short releases but it still is exceptionally good. Recommended without any doubt.

Favorite tracks: "I", "II".

87/100.