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Malhkebre > Satanic Resistance > Reviews
Malhkebre - Satanic Resistance

No post metal - 92%

Colonel Para Bellum, June 10th, 2019
Written based on this version: 2019, CD, Lamech Records (Digipak, Limited edition)

Malhkebre began their new album with an impetuous bombardment, making it clear that any kind of "post-metal" should not be expected to sound on "Satanic Resistance". Well, when you put on the latest album of some French black metal band, you should be ready for this, that's the stark reality of life. Although the rhythm and pattern of songs are constantly changing, and it shows in that, for example, an almost-grindcore assault frequently jumps into a slow fingerpicking or other guitar passages and bridges, there is no fashionable exaggerated "frills" on the "Satanic Resistance" album.

This album is a tribute to the classics of the genre. Perhaps in order to warn the listener about this, in the first song "Résiste" Malhkebre surprise him / her with the solo without the support of a rhythm guitar – it's not the done thing now but was it common practice in the past. The end of this song implies that a kind of "avant-garde hysteria" will be next in line, but fortunately there is no trace of it. Presumably, to the disappointment of fans of "Revelation".

That's it, willing or not, this work will be compared with the previous one. Sounds like a plan. So, "Revelation" was more cruel and insane. And diverse. And on "Satanic Resistance" everything is preternaturally arranged and ordered. Further. The vocals used to be more hysterical. And more diverse. Here vocals are more imperturbable. Grownup, somehow. Monotonous. And certainly soulless. There are basic postulates.

Hatred through clenched teeth was felt in every moment on "Revelation". Here hatred is more... umph, monumental. The image of "Revelation" is a maniac, a psychopath, roaring and foaming at the mouth, he rushes on passers-by with a knife. "Satanic Resistance" is the professional sniper, who (maybe at the request of someone else) shoots passers-by from a tall building.

I'm not saying that all these changes make the band worse. They make Malhkebre "different". However, to become quite "different" they will fail, because they are Malhkebre. It is as if an abstract artist suddenly decides to paint the picture in the traditions of the classical masters: he'll fail because of his abstract past and his artistic bent.

Ok, this is all about emotional perception of music. But what about style? That's what I thought. Perhaps if Malhkebre had developed further in the spirit of "Revelation", they would have been become cramped within black metal and the metal genre in general. The end of the matter would be notorious "post-metal" – it's a typical story for many modern French black metal bands, by the way. But Malhkebre decided not to follow their example. Maybe not yet, I don't know.

Anyway, "Satanic Resistance" is an unexpected move for the French scene, not that I know it very well. Malhkebre remained loyal to black metal. In conditions of the almost total "post"-occupation they had gone into "Resistance" ("La Résistance"). Down with fashion, long live old school! – this is how I interpret the meaning of the album title.

Right, it's actually more black metal here than on the previous album. There was an experiment with black metal, here is an experiment within black metal. On "Revelation" chaos was depicted with "black metal-ish" riffs, and on "Resistance" black metal is drawn with "chaotic" riffs. I'm not saying the chords sound dissonant, I mean they're very à la Voivod. Yes, Voivod is the keyword for "Satanic Resistance", here everything is imbued with this legend. The fifth song, "Join Our Cause or Perish", is perhaps the most unusual on the album, almost on the edge of "post", but, again, there's too much Voivod here to be clear "post".

From the songs I would like also to mention the third one ("L'Appel") – the atmosphere of terror is conveyed very distinctly here, just like Voivod did it on their "Phobos"; the intensive fourth one ("Insane idolâtrie") – a slightly dissonant passage sounds here from 3:40, but it is still more "black metal-ish" than avant-garde; the rapid but at that time little eccentric sixth one ("Black Art macht frei") and the eighth song ("Prie le Seigneur et la vermine crèvera") – very interesting song with a catchy bass line at the beginning.

It is necessary to change views to appreciate this work at its true value. It's actually a rule for every new album, but in this case it's especially appropriate.