The anti-cosmic utopian credo of ÆVANGELIST.
First time I heard this band I was really taken by their some manic sound textures and obscure approach of Black Metal, Death Metal, Power Electronics and Dark Ambient, in a crazy vortex of confusing and abscond tunes that leads the listeners to the Nihil in extreme impenetrable ritual and orgies of the gods of old.
Their album De Masticatione Mortuorum in Tumulis (you can read my transcript visions of the mysterious here) was an utterly purifying experience I will never forget.
How was my immense surprise to discover they were back for more experimentation with ALL aforementioned tracts of styles and some free-jazz approach of the most reticent music a la Portal.
I’m a truly fan of this kind of musical incongruence that confuses the mind of simpletons and can lead to complete craziness.
This album counts with Ascaris (voices from the chasm) and Matron Thorn (everything else) and throw the listener to an insane liturgy of strange soundscapes, never heard before.
In the surface, songs like Hosanna , The Only Grave and Præternigma has the murky and muddy death/black sound of sorts, but the wall of noise they create (and by noise I mean power electronics) spritz their insane collage of inventiveness all over.
Disquiet is a dark ambient number, with experimentations, textures, industrial/martial music and ominous atmosphere. The ambience created is hypnotic and progressive.
Ælixir is disgraceful: noise waves of experimental dark music with disconnected guitars and free jazz approach on the drum sound, causing a rollercoaster Doppler Effect. The nauseating vocals are sunk in the background with no certain tempo to discern. Incomprehensible and beautiful. High-pitched frequencies with a sax add insult to injury. Over again the drums take over in this experimental voyage to nowhere, but this time in the form of iteration which of course leaves the sax free to act as it will. Female voices give a sudden relief and the final cut throws back the intense black death insanity.
After two numbers of somewhat run-of-the-mill sound, then comes the great finale, the title-track Writhes in the Murk containing an eerie acoustic guitar all the way, but intersected with occasional riffs that come and disappear in a fade out/fade in effect.
Writhes in the Murk is a masterpiece that won’t receive praises immediately, but as soon as the times passes it is going to become a reference for the generations to come. An album which is going to survive the taste of time…
Writhes in the Murk is out now on Hells Headbangers
(Daniel “Roderick” Death)