Jettatura

Whenever I hear the term "Black n' Roll", I instantly think of Satyricon. However, it seems that a lot of bands are jumping on this sort of band-wagon. I guess this shows that there are a good number of black metal listeners, who manage to overlook the whole puritanism surrounding black metal, and adopt a very interesting persona as a band. VCID seem to be heavily drawn to the sound made really popular by albums like "Age of Nero" and "Now Diabolical", but even though a lot of people might just stop at that point with their comparison, you need to unpack the whole sound in order to fully understand what the driving force of this French quintet is.

"Jettatura" is the debut album of VCID, and it proved to be a very captivating listen, albeit it's rather simplistic nature. This eclectic mix of sounds reminds me of different bands such as punk-era Darkthrone and Aura Noir. There are definitely some post-black metal hints, here and there. Certain songs would burst into those very monumental bursts of energy associated with Cascadian black metal bands, such as Wolves in The Throne Room, Alda, and Addaura. The guitarists also make use of a lot of tremolo-picking and they manage to create a very dense atmosphere, associated with the earlier music of Satyricon and perhaps even early Burzum. The third track on the album entitled "Woven Woods" at first glance, might appear as a rip-off of one of Taake's more famous song which I won't bother to spell. The structure of the two songs is also almost equal. However, VCID manage to take the root ideas and mold them into their own in the most hauntingly and spitefully sadistic manner possible.

The vocal work on this album heavily impressed me. C's vocals are so damn hateful and raw, they pay an amazing tribute to the vocal style of Taake and Watain. The bass guitar is hearable, however, its role seems to be a little bit too subdued. If you don't even bother about the instrument at all, you'll probably totally miss out on it. Most bass-lines on the song are usually a heavy bastardization of the main riff. Most of them don't even exceed two-to-three notes per bass-line. The picking is also very scarce, which actually helped in giving the singular bass notes, a little bit of a punch, in order to make up for their lack of creativity. The drum-work is alongside the guitars, the main backbone of this release. The drummer, although not being the fastest, or most innovative, still manages to pull a commendable job. The album is riddled with interesting drum-fills and drum-patterns. The drums serve as a great catapult for the intensity of the vocals and the riffs, which is very interesting in itself. However, many-a-times, the drums end up sounding too thin and lose their whole potential.

The production of the album is crystal clear, and that really annoys me for some stupid reason. I guess that somewhere in my deep sub-conscious I associate this sort of music VCID is playing, with more offensive, gritty production. The fact that everything sounds crisp and perfectly-balanced, in my opinion, does heavy damage and hides the true sadistic potential of this album. I feel like this album, given what it is, and what it stands to represent, should be much more aggressive because the truth is, the production completely tames the underlying fierce nature of this album. I have to admit, this album can get a bit boring after a while, because certain ideas are heavily recycled throughout the entire album, and there aren't any standout tracks which I can really think of. I would suggest any third-wave black metal maniac to listen to this release because it will surely pique your interest.

You might not see a metric ton of bands labeling themselves 'black n' roll' out there, but in truth the two mediums work well in tandem, and it's hardly a novel concept. A quick listen through first wavers like Hellhammer or Venom will reveal quite a few pure rock-ims; sure, they might be saturated in raw production that sounds alien to anyone looking for radio-friendly classic rock, but the simplicity and intent is laid bare. VCID is a French band which pretty much attempts to serve as a poster child for what that hybrid would sound like in 2018, and if you can set some expectation for that in advance you will find unfortunately find no surprises on their first full-length Jettatura. That's not to say this album is a bad one per se, because its clear production and thick guitars hold an estimable level of potency, but where even Satyricon were able to pull of a few evil, addictive grooves on their own 'black'n' roll' era records like Now, Diabolical and The Age of Nero, this one is all surface level, all straightforward and doesn't have much in the way of subtle tact or memorable riffing.

Jettatura is primarily mid-paced, driving rock-punk rhythms with a few slightly faster, dissonant chord patterns woven in and out for good measure. It shows a sort of parallel development to how crustier metal/hardcore bands of the D-generation write at moderate speeds, only with a brighter production level. Think Nails playing a Darkthrone cover, mitigating their anger a bit for a more bruising, cruising effect. It's not so sunny, rocky and punky as something like Turbonegro or Kvelertak, but take that style and integrate some more mug-swilling, atmospheric and melodic disposition and you're in the right ballpark. In fact I'd say they sound most to me like the Danish band Horned Almighty, although I didn't enjoy this quite so much as that band's catalog which has a more cruel, abusive streak to it. The riffs here are just slightly north of 'stock', occasionally dressed up with a jangly little minor note fill so it's not just all meaty chords, or some occasionally chugging which will break off into a faster tremolo picked sequence.

A lot relies on the vocalist 'C' (they all use initials here), who has this very level, consistent and nasty rasp which is capable of some sustain to match up with the general mid speed of the instruments. C sounds loud and central to the mix, and about as professional as you're going to get, but at times I also though the vox were a bit too obvious and overbearing, without the little flaws and personality quirks that would make them stand out. Essentially it's a rock solid delivery over a rock solid base, with the drums and bass and rhythm guitars all adequate for a style of black metal that is the very opposite of flash. I think they do a fairly decent job of balancing out their two 'sides', but the issue I had for much of this was just that the black metal riffs are never evil enough, nor haunting, even when they clearly try to be. Some more experimentation, higher pitched guitars, perhaps some more unpredictable rhythm guitar patterns could really turn this around because VOID clearly knows how to achieve a high level studio sound. The album packaging looks cool, and they also have a really cool lyrical style which seems to flow like beat poetry when you read them outside of the music.

A lot of potential here, I just wish the band would go further out into the unknown. I think in the end, if you're really into that early Darkthrone black metal style but want it cleaned up a bit, Jettatura would hardly be a waste of your time, but the whole experience felt a little too stable and samey for what I'm looking for in this particular niche.

-autothrall
http://www.fromthedustreturned.com

Six years since their last material, the rollicking blackened metal five piece from Nantes, France know as VƆID finally delivers their debut full length album, Jettatura, through Les Acteurs de l’Ombre Productions. Featuring six tracks across thirty-five minutes, the album weaves through varying levels of punchy, oft-catchy black metal.

The first thing one notices when turning on Jettatura is the professional, full bodied production. Every instrument shines brightly, yet the album still radiates a dark hue in spite of the polish. Black ‘n’ roll, as a whole, is a style that tends mostly towards boring schlock (see Satyricon’s Now Diabolical), so it’s really cool to see a band like VƆID bring a fresh twist on the style. Perhaps it’s the band’s aggressive and destructive take on the sound. There’s a fair amount fiery tremolo riffing and rumbling double bass attacks mixed throughout, not to mention the frequent descents into second wave influenced mid tempo darkness. Yet the band’s forte is clearly the rollicking, blackened metal that fills the majority of the album. The riffs are catchy as hell and well written: it’s nearly impossible not to bob your head along to the title track.

With a style like this one should clearly hear a passing resemblance to the Watain’s, Taake’s, and Satyircon’s of the world, but VƆID’s sound is certainly one that stands apart from the crowd. The band has found a fine balance between headbanging catchiness and aggressive black metal. Purists may be a little put off by the modern sound, but that’s their loss; this is an album that sounds quite fun without losing its edge. VƆID is a band to keep an eye on, because if this debut is any indication, they’ll be a household name in no time.