Liber Necris – Negative Creator

Posted in Uncategorized on April 23rd, 2014 by Matthew Lowery
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Sometimes you click play on an album
without knowing quite what to expect and find yourself blown away by
what you find, and this is one of such occasions. Liber Necris’ EP Negative Creator
is one of the most ferociously heavy records I have ever had the
borderline-masochistic pleasure of listening to. Drawing together
influences from death metal, black metal, thrash, hardcore, and crust,
Liber Necris throw them all into the cauldron and what comes out is
nothing short of an auditory assault on the senses.

Liber Necris formed in Leeds, England in 2010. They released their debut EP The Immutable Aversion back in 2011 and Negative Creator is
their first release since, recorded by Rob Hobson at Silent City. I
cannot knock the production at all: it perfectly captures the visceral
sound of their music, while also adding a lot of atmosphere to the
music, such as the howls in the background towards the end of opening
track ‘In the Beginning (First Light)’ and the screams off in the
distance on closing track ‘The Eulogy for Our Earth.’

The music itself is brutal. If you were to ask me for another band as a sort of reference point for what to expect from this album, I would probably say Plague Widow,
who blend similar influences to a quite different result. The vocals
are varied, shifting between a high pitch black metal shriek (with a
considerable amount of power behind it too, it must be said) and a more
guttural death metal growl. The guitars likewise display their influence
from both black and death metal, with tremolo picked passages, powerful
riffs, and even some passages that border on breakdowns – of the good
kind, you can be assured. The drumming is seriously intense stuff, with blastbeats to accentuate the heaviest and fastest moments, and a lot of variety through the tracks.

Closing track ‘The Eulogy of the Earth’ is one of the most interesting
of the tracks here to me on the basis that it deviates so strongly from
the formula established on the previous three. The guitar leads are much
more melodic with a more atmospheric introduction before the blast
beats and black metal screams kick in (somewhat reminding me of early
Watain), though the middle section of this song settles into a strong
formula of vicious, intricate riffs and powerful drumming, while
alternating between howls and growls. The section just over 2 minutes in
reminds me of some of the more recent post-black metal music movement,
and then the band lays on some atmospherics in the background to
complement the tortured guttural vocals. The final minute of the track
moves from haunting and hypnotic to a powerful declaration of intent,
ending this record as forcefully as they began it.

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Behemoth – The Satanist

Posted in Reviews on March 3rd, 2014 by Matthew Lowery
Behemoth

If you’re at all familiar with the death metal scene then Behemoth really need no introduction. For the uninitiated, however, Behemoth are a Polish blackened death metal band that formed back in 1991. Their progression from their early pure black metal sound to their more recent sound which is primarily death metal with some black metal flourishings is an important one. As the band grew they developed their death metal influences further, with Demigod arguably being their most accomplished work up to this point. Their their previous album (2009’s Evangelion) was a very cold-sounding album, devoid of humanity or frailty, which I think is exactly the sort of merciless sound they were going for. The Satanist, however, presents an interesting change in direction for Behemoth. Not only have they brought back their black metal influence in a big way, this is in many ways the rawest, most emotional, and most human album Behemoth have ever produced.

In terms of the songs on the record, this is easily the most diverse, powerful array of tracks that Behemoth have ever recorded. Tracks like Furor Divinus, Ora Pro Nobis Lucifer, and Amen are blisteringly fast and heavy, with Ora Pro… being surprisingly catchy, and bringing to my mind their earlier album The Apostasy. Amen is one of the heaviest tracks they’ve ever written, period. The guitarwork from Nergal and drumming from Inferno is absolutely insane on this track. Messe Noire is more in the style of Deathspell Omega, with eerie, twisted guitar riffs and drumwork, and a truly fantastic guitar solo to close the track. The importance of his vocals in the sound of The Satanist cannot be overstated, because they’re such a huge part of what makes their sound work. At times a ferocious bellow, at others one can hear his vocals crack and break as the intensity and emotion of the song overcome him.

In my opinion, however, the final four tracks are the strongest on the album. ‘The Satanist’ is really Behemoth trying something outside of their comfort zone. There is a big emphasis on Orion’s basswork (which is absolutely phenomenal through every track on this album, by the way) and on melody at a slower pace. It has a very ‘rock n roll’ feel to it in place, and I found myself enamoured with it. Ben Sahar has a middle-eastern feel to it, and feels in places like a war-chant, in part driven by the unbelievable drumming, and by the end of the track the track explodes into an anthemic masterpiece of death metal. In the Absence ov Light has one of the biggest riffs on the entire album, bordering black, death, and thrash metal, with powerfuldrumwork pushing the song forwards at a relentless pace, until about a minute in the song lapses into a quiet interlude. A saxophone plays softly in the background while Nergal reads a quote by Witold Gombrowiczabout Satanism as an ideology. Out of nowhere, the incredible riff fromthe opening of the track explodes back into the track and the track picks up right where it left off.

However, it is the final track, O Father O Satan O Sun, that is the pinnacle of this album. After a minute of atmospheric, noisy ambiance and droning guitars, we’re fed an unbelievably delicious bassline by Orion before launching into the epic verse. As Nergal bellows the truly anthemic lyrics to this track, the addition of many backing vocals adds a truly epic feel to the song. About 2 minutes in we’re treated to a very bluesy, rock n roll guitar solo from Nergal that gives me goosebumps every time I hear it. The sense of atmosphere, of purpose, and of unbridled emotion and musicianship present in this track really epitomise everything that Behemoth stand for with this release. I think you can expect to see this album on plenty of 2014 end-of-year-lists.

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