Auakistla

Beyond the Fallacy showed some looming in the constant progression of the Paris-based band due to a lack of coherency suddenly too obvious. That, along with the all-too-important start-up feeling in the production that was growing evermore so difficult to gulp since we wera talking act two. Auakistla is then right up there in the starting-blocks to get things right. Buckle up your seatbelt.

The first thing striking your mind as soon as the music start is the sound. This is not Hollywood, but finally, here we are! Seide eventually created itself a warmful and more organic sound signature. That suits them so much better. Gone are the dryness and the thinness, we will not miss you. Music debuts with Les repus d’avant l’Apocalypse, first on spoken words, then with a strong and powerful riff, backed with a blast beat. The immediate effect is that Seide puts its listener in good conditions. However, let’s not forget that Beyond the Fallacy was following the same scheme, a strong start, and a guilty spread following. Let’s kill any falseful suspens: none is repeating itself here.

Building up on its new solid sound foundations finally mirroring its musical ambitions, the disenchanted horde (just take a look at all the song titles, only Feu de joie, which is only a depressing transition in the end, departs from the global ocean of ill-fated consideration towards Humanity) marks its fingerprint in our minds. Riffs are piling up for positive feedbacks. Above all, there finally is a continuous link to keep being into the music. Of note, the songs are often tight as a rope, based on frequent blast beats which intelligently avoid being meaningless and epileptic. Here again, the new found glory production-wise brings its necessary power to back-up their crushing fatality. Moving on to the vocals, Count D keeps on shining on his brilliant legacy. Often inducting domination while regularly verging on palpable madness, he dresses finely a complex web of intricacy while never showing blatant technicality.

This is where Seide’s personality can be found, and it’s vigorous: the constant will to evade pre-existing scheme, to surprise with rhythm and melodies switch. That provides their music with obvious richness. That music that exudes a clear and formidable reject of human miserabilism. The end of Exécrable creature represents a perfect representation of this. Suddenly, we are forced-puking our human fellows. We need to shout at them all the disgust they induce into our very self. Or the delicate melancholy pouring from the acoustic intro of La danse des pendus. So bewildering with its perfectly integrated saxophone. The sheer strength of all these feelings demonstrates that Auakistla (meaning “Drought” in Nahuatl, reminded in the French-translated closing “Sécheresse”, and a tribute to a country that means a lot to the band) strikes right into our hearts with its tortuous, yet non too circumvoluted balck metal.

This is with a hell of joy that I jump onto this conclusion, finding back the urge for covering the band with massive congratulations for what they give use: a masterfully crafted and blissfully complex black metal with a strong personnality