No, nothing to do with that Norwegian chap who had a big pointy nose and ears. This is Mortis Mutilati, a French one-man melodic ‘funeral black metal band’. With a couple of demos, a split, and an exclusive tape-only debut album behind him since 2011, main-man Macabre has been quite busy. For those of you who find the format of cassettes to be redundant in this day-and-age, thankfully his sophomore effort will be available on CD. Although again, in the truest black metal fashion, it will be limited to just 300 copies. Needless to say that if you are one of that lucky number who manages to get his/her hands/feet/hooves on a copy, any happiness you feel is sure to dissipate fast as the sombre shades of blackness here drag your spirit through the moonlit graveyard.
The reflective strummed intro gives some indication as to where we’re headed, with its clean sound bringing an element of emotion – like that of bereavement – to the fore. The title track is where the black and the metal emerge though, with a sombre, depressive pace akin to Drudkh setting the tone. Macabre’s vocals are mid-range anguished screams, which sit perfectly among the riffs as they blow constant cold breath against your flesh; the style is repetitive and hypnotic save for the last part of the opener. Playing a central role are those dark melodies, which continue to flourish as the album progresses. Mix-wise, the instruments sound well-balanced, with plenty of bass accompanying the rasping guitars and drums. In ‘Neige de Sang’, a pulsating bass line gloriously appears, as does more speed, which sounds so very cool contrasted with those slower, mournful guitar lines. What such tempestuous passages reveal is a brilliant tone to the kick drums, a detail which imbues these bits with primeval force. Otherwise it’s an overwhelming sense of loss and redemption; only overshadowed slightly when that obtrusive church organ make its appearance.
The beginning to ‘Way to End Your Useless Life I’ sounds excellent through headphones – a little like ‘Panzerfaust’-era Darkthrone, off the top of my head. The melodies are haunting as ever, with drums resembling some metaphysical beast as it emerges from its dark forest dwelling (naturally). This is the longest track on the album and seems to explore the tormenting emotions of life/death through a few changes in pace and musical texture. The counterpart to this nihilistic number, ‘Way to End Your Useless Life II’ goes more for the jugular, combining sinister riffs, hypnotic passages and cascading walls of guitar to evoke an irresistible feel, which is at times reminiscent of Immortal. The curious flourishes of kick drum action towards the end, which I initially mistook for being clumsy, are also quite the feature. Come ‘Obsèques’ and it’s time again for more effective bass lines – these ones of the bouncing variety, which go independent of the guitar and drums. Almost emblematic of the entire album, lingering, somnambulist passages give way to bursts of speed before settling back down to deathly cold/paradoxically warm realms of melancholy.
Of the final tracks, ‘Quoth the Raven, Nevermore’, again meshes bubbling cauldrons of drums/riffs with cold reflectiveness, while a medieval outro ends the album’s existence in vague fashion. ‘Nameless Here for Evermore’, like so many albums from this genre, is the kind to immerse yourself in, and one that I can say I’ve been impressed by. Perhaps because I am just a casual visitor to the black realms of metal explains why it has resonated so well on a personal level, but I don’t think it’s just that. What Macabre has achieved here on his own is a mature and powerful musical statement. It obviously has its influences, and while I am sure there are countless bands out there ploughing a similar furrow, this is patently from the heart. Even more relevant, however, is that it’s just damn good.
(8.5/10 Jamie)
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