Et in Saecula Saeculorum

Fons et Origo. There were a few words that came to mind when I first inserted 'Et In Saecula Saeculorum' into my CD player. One word in particular was "unruly". And I mean that in a totally non-Girls Gone Wild kind of way. The band's true intention is to subject the listener to a wide variety of obscurity and ambiguousness. By using long and very structured songs as well as a variety of effects to their intensely played instruments. An initial look at the layout will show their modus operandi right away because of the heavy use of occult themes.

Negative Plane is a well devised entity when it comes to describing their similarities and influences. Listening to it sounds as if you took the chaotic feel of Martyrium's 'L.V.X. Occulta' and decided for the sake of nostalgia to add some of the musical direction of Mercyful Fate's 'Don't Break the Oath' to the mix. As well as subtle hints of 80's doom bands such as Pentagram. 'Et In Saecula' has a fair amount of structured as well as non-conventional riffs which is why I've come to this positive reasoning of bands.

Historicus. Comparing this debut album to the music on their first demo you'll notice it has a decent amount of improvements. Since then, 'Bestial Devotion' was added to the line up as a real drummer. Which shows the substantial amount of enhancement. Also the production was recorded differently; giving it a more full and analog sound quality. Three of the songs on the album are on the promotional tape. And show us what the band is ultimately capable of by giving us distinction between their instruments.

Musicus. The guitars operate like a train and are the leading locomotive aspect of the album. While the drums are the railroad cars but follow neck and neck. Unlike albums like Tormentor 'Anno Domini' where the drummer is man-handled by the complexity of the riffs. 'Nameless Void' is Mr. Heinz 57 variety on the guitar. He occasionally uses palm muted riffs, finger tapped riffs, as well as single tremolo riffs when going fast to chord progression, hammer on extensions, harmonics and single notes when slow. One of his signatures is the spastic use of non-conventional higher single notes with lower structured riffs. Primarily the higher notes are used as a fill. Also his solos are done very intelligently and add a substantial amount of reverb to set a mood of atmospheric dysphoria. They range from slower spine-shattering single notes to furious finger tapping solos. Unbeknownst, Nameless Void plays the bass on this album as well as the guitars. Another positive outlook of the album is that the bass guitar is heard very audibly. One reasoning is that he decided to play clean instead of distorted it appears. Right beside the hyperactive guitars is the raging horde of drums. Band mate and drummer Bestial Devotion shows the listener that the art of percussion has broad interchangeability. Hypothetically speaking he adds a fill-per-second. Taking advantage of cymbal hits, tom rolls, snare rolls, different combinations of high hat hits, and other hand-held atrocities. Some of the resemblances of the 80's are ever present with his drumming style by utilizing the more than metal cow bell and the double-sticked high hat shimmy technique in certain areas. He sets the pace with hyper-thrash style arrangements, mid-paced pumping beats and the occasional blasts. The loudest highlight in the recording of his drums is respectively the snare drum. Which isn't dull to say the least. It has a thick layer of reverb added. Giving its presence a hollowed pounding sound. Layered and over the top come in the vocals with pure chaos and obscurity. Nameless Void is once again resurrected from previous sentences. For comparison, his vocals have slight similarities to the howls 'Daevas' of Martyrium. The production of his vocals give a distant sometimes shrouded sound and often have varying range of pitch flexibility. On his vocals, he uses a wide range of note connotation and certain degrees of delay and reverb. With that said, picture throwing your voice and adding a higher fluctuated level of raspy screams. Another notable aspect to add to the list of instrumentation is the use of a Hammond style organ. This creepy and ominous instrument is used in a fashion dissimilar to bands such as the infamous organ laden Skepticism. The difference being that N.P.'s organ is mainly played when the other instruments aren't. More specifically in a solo context.

Ex Mea Sentenia. The critiques of the album in my opinion are minimal at best. For one, the lack of printed lyrics at this time is a disappointment. Last but not least, I feel as if the solo organ track 'Trance of the Undead' even though done with evil intentions could have been translated into much more beyond what it is.

Years have passed when I've seen a black metal album that I would call "unique". And Negative Plane's debut 'Et In Saecula Saeculorum' is just that. A great album that will go on with time to other's perverted ears. With multi-structured guitars, hair raising vocals, more than present bass, and technically suited drums. However their complexity doesn't exceed into boring boundaries like some non-inspired uninfluential bands do. Rather it is used to open new senses and add to the ambiguous nature of this ongoing black metal band. With that if occult themes and head banging are your cup of tea, then I recommend N.P.'s debut album as a well rounded force which will be hand in hand with other great metal albums of the like. Finis.

-J.M.