Aesthethica

Rarely has there been such a level of consensus among the purveyors of high culture about black metal as there was in 2011 about Liturgy's release Aesthethica. Nor have there been many records as polarizing when it comes to the inhabitants of the metal scene's inhabitants as that very same release. To discuss Aesthethica as something separate from Hunter Hunt-Hendrix's dissertation about black metal or from hipster co-option of black metal music into indie/punk aesthetic seems difficult for most, if not impossible. In either case, most with the experience to discuss this sort of music are close either to the world of "true" grungy, uneducated metal fans or of the faux-working class trust fund art school kids of Hoboken and Williamsburg. Impartial analysis, predictably, is difficult to find.

Separated from the scene politics, what is Aesthethica onto itself? Pitchfork described it as a "crossover black metal record." As a statement, it's just adequate, but accurate. It's certainly heavy enough to be black metal, and stylistically meets pretty much all the criteria for what is considered to be black metal in 2011. But there are artistic flairs in here that are reminiscent of acts that are distinctly not black metal. Throughout the disc, you can hear paeans to the likes of Shellac and Lightning Bolt. Aesthethica isn't atmospheric black metal crossed not with European folk, power electronics, military pop, or symphonic arrangements. Those have all been done before, and one might realistically argue, done to death. Black metal instead tag teams with math rock.

One big issue rears its ugly head almost immediately when conceptualizing the joining of Big Black-style chunky sounds and grooves with black metal's, well, lack of groove. After being a term to indicate nothing but how deeply a band's allegiances lied with everyone's chum Lucifer, black metal became defined as a genre of music onto itself. Raw speed and screamed vocals turned themselves into not just noiser rock, but atmospheric, epic music. Genres previously crossed with strains of black metal were done so not to add to the severity of something that had already been turned to 11, but to give more emotional depth to the songs beyond pure, raw aggression. So this was certainly the thought process as Liturgy went about making a post punk/black metal album. To be fair, its not entirely unimaginable. Among the genres of extreme metal, none better matches with nor borrows more from punk ethos than black metal. For those coming from a primarily punk or post-punk background, it would seem to make sense.

Whether or not it really works is less certain. As a black metal album judged on the basis of what black metal, Liturgy obviously falls flat. It works no better from the perspective of adding something appreciable by wearing its influences on its sleeve. The production is solid so far as the competency of the people behind the boards goes in getting things to not sound like total crap. The vocals are barked out competently enough. When it comes to the composition - the material itself - is certainly imperfect if not forgettable. Perhaps due to the leanings of the musicians to show off their chops, the material never breathes. There are no spine tingling moments. There's few great or memorable riffs leading to anthemic material. No grooves, as would befit the introduction of those wonderfully chunky bits. In fact, it isn't until we get to Glory Bronze, the 7th track on the album, that something approaching well conceived "atmospheric black metal" arrives on the scene. Even then, the guitars end up being choked out almost completely by outrageously loud drums and apparently need for the listener to hear every fill.

Just as the disc seems to be getting its legs under it, Aesthethica seems to divert into plainly not-black-metal territory. Its almost as if the artists feel the need every 3 songs to remind us that this is not purely black metal, but that they are offering something new and different. Whether its the first 3 unremarkable tracks being followed by what sounds to be a Hypermagic Mountain reject in "Generation", or "Glory Bronze" hitting a pinnacle for their black metal sound only to be immediately followed by what can best be described as third tier Karma To Burn, the lack of consistency or focus is an issue. Easily the worst song on the album is the goofy chant of "Glass Earth." As a 1 minute intro to a Nomeansno song, it might make sense. And Nomeansno would write something good to go with it. As a 3 and a half minute intro into a merely OK black metal song, it is less successful in setting the mood. By the time Liturgy comes back with the second memorable song on the album in "Harmonia," the record is basically over.

In end analysis, there is no zen. Neither is there anything to push along flailing-as-dancing in the vein of a Portland night club playing Peaches singles. Liturgy has indeed produced a "crossover black metal record". While one could argue that black metal worthy of interest from the tiny pants sector has always been there, no record better exemplifies an attempt at pleasing the bearded, Alf shirt wearing crowd than Liturgy's Aesthethica. By giving the listeners enough indie-friendly sounds and aesthetic touches betwixt the black metal fury Liturgy has made the best black metal record for an introduction point for complete virgins from a very, very particular scene. For everyone else, Aesthethica is likely still a tuneless trip to an unapproachable musical extreme. For those more fond of that particular universe, it may be seen as a middling, forgettable piece of music to be slotted next to the likes of Deinonychus, Bethlethem, Mistigo Varggoth Darkestra, and so many other black metal acts of years past who aspired for so much and came up so short.