Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Giant and sprawling psychedelic mindfuck - 80%

NausikaDalazBlindaz, January 21st, 2007

If you've heard Furze's first album "Trident Autocrat" and were expecting more of the same with this second effort, you're in for a big surprise: whereas "Trident ..." is short, fast and mostly straightforward if eccentric black metal with self-contained songs, "Necromanzee Cogent" is huge at over 72 minutes and lopes along at a slow pace with sometimes sluggish drumming. For every moment of fast or mid-paced black metal you there there must be 2 - 3 minutes of sloow doom metal. Most songs are long and drawn out and Furze fiend Woe J Reaper sees no need to fill every moment of every song with guitar buzz or static "atmosphere" so the music can be quite disjointed. The record has a very spacious quality because of the lack of buzz and everything sounds like it's taking place in a huge underground cave and Herr Reaper's voice echoes everywhere though he may be nowhere in sight. The tracks do have distinctive melodies and riffs but annoyingly Furze sees no need to repeat them at regular intervals throughout to keep you on an even keel. Overall the album is a giant sprawling maze in which doom metal rhythms, unorthodox drumming and black metal guitars mostly dominate with field recordings, noisy bits and keyboard / synth passages popping up here and there.

The one recognisable Furze element, apart from the guitar sound, that is consistent all the way through is Woe J Reaper's singing - some might say clowning - which includes chanting, laughing, groaning, declaiming and the odd impersonation or two of cartoon chipmunks or Disney characters Huey, Dewey and Louie the nephews of Donald Duck. Sometimes the singing is upfront in the mix, at other times they are very distant and are treated with reverb, and the effect is to suggest that Reaper is a mad psycho king who enjoys popping in and out of his cavernous realm in which you are lost and so subject to his wicked schemes and manipulations.

One track, "Sathanas' Megalomania", whose title pretty much indicates why the album is such a strange hallucinogenic mindfuck, is a 23-minute monster that probably might have worked better as an EP if only so that the rest of the album is easier to get a handle on! The epic goes all over the house with recordings of nattering hamsters in the background and Reaper doing, maybe overdoing, his stand-up black comedy act. Incidentally the most sustained episode of fast and energetic drumming is to be found here; elsewhere on the album it's either quite laidback or when fast collapses very quickly. A guitar motif from "Trident Autocrat" occurs unexpectedly and wraps up the track.

Yes it's an odd and peculiar recording that takes you on a weird psychedelic trip into the mind of Satan as Reaper sees him. Many will be those who'll be utterly lost and confounded by the apparent disorganisation of the music and will give up. Those unfamiliar with the Way of Woe J are best advised to start with "Trident Autocrat" to get acquainted with his methods in miniature: it's the appetiser to the main course. And what a main course it is!

This is one atypical black metal recording - 85%

Byrgan, February 26th, 2005

The one man band, with a name that's as odd as its music, gives us a mixture of black and doom metal with his second full length offering. Woe J. Reaper, the man behind the at-most-times eccentric composition, leaves no reparations except hopeless scars with this hallucinogenic "trident black metal feast."

If you've experienced the debut "Trident Autocrat" and thought it had some experimental tendencies, then strap yourself in for this bizarre ride that will leave your eyes a little wider and quite possibly turn over more knots in your stomach. Mixed with shreds and resemblances ranging from Black Sabbath, of course, in their slowest and darkest moments and also some hints and likenesses to Dark Throne's "Under a Funeral Moon." This is all combined with a production that's reminiscent of Hellhammer: with a sound that is neither so heavy it is crushing but a rawness that cannot be underestimated. Of course, those are mentioned to give you a general idea because if you do get a chance to hear this, Furze tends to have a sound of their own. All their own.

This music is carried by an abundance of varied, sometimes off-the-wall sounds loosely intertwined like roots barely holding the earth together on an unsteady cliff edge. The eerie vocals hover by your eardrums in unguessable directions as if they were recorded in a watery tank with noises bouncing this way and that. Reaper sets them up as lead, layered backups and sometimes they wreck havoc just on their own. This isn't the typical delivery of most recordings because they are constantly jumping into various modes and aren't nailed down to one particular method. Along with assorted saturated effects that alter the way they transcend themselves through your speakers, he'll also contort his voice with direct black metal rasps, tortured screams, painful howls, echoey yells, melancholic cleaner chants, indescribable noises and, of course, where would this be without lunatic laughs to send another chill or two up your spine.

Likewise to the vocals, the guitar might pull out a line that you might recognize from a technique or structure from scratchy and raw black metal, but then can pop up with another mode that comes out of left field. Such as playing some spacy riff on its own, manipulating another so it barely sounds like a guitar anymore or just having these grating pick slides up and down the strings. The techniques used are basic in execution as there isn't an abundance of chords or palm mutes used, more at single string plucks, some mesmerizing strums and extended hammer-ons you might recognize from an older band...yep, you guessed it. Throughout the misty haze of instruments, the drums creep through this thick and deadly, though alluring fog. The drum work is more relaxed than tight, and the tempo is mostly slow and mid-paced but with a few rare faster moments. Honestly, as time slithers along, I can't tell if he knows what he's doing or tries too much for simplicity? Probably the latter, but, then again, it's a hard swallow at first for a trained musician's ear due to how the timing slightly trails and how some of the fills sound clunky.

Where the song writing on "Trident Autocrat" was more along the lines of conventional black metal, "Necromanzee Cogent" is going to be one experimental and ghastly trip. This is far from stationary, maybe in actual momentum it is, but how the instruments are continually manipulated and all of the jarring noises coming at you with an abundance of effects on top, this is going to be one slithery, atypical recording that can't be grasped in one go. Though in some moments it can play a distinct, basic and catchy guitar line or have another area where the vocals are more direct, but for the most part this is jumpy and each time I've put it on, this has been almost an entirely new experience. An experience that has its flaws but also comes with plenty of raw instinct and genuinely felt atmosphere to back it up.