I don’t think it would be exaggeration to state that this album has been much-anticipated in certain quarters. Storming onto the underground black metal scene in 2009 with their ferocious EP ‘With Burning Tongue’, the Germans swiftly followed this up with their astoundingly assured debut ‘Consolamentum’ the following year. A massive work that merged esoteric occultism with the raging hellfire of Old Testament-inspired blasphemy, all delivered through the medium of punishing, intricate and above all exhilarating black metal, it set the bar high.
So, it is against their own high standards to which ‘The Dead of this World’ will be measured and mercifully, it does not full short. The band have been crafting this opus for some time, that much is clear – and this dedication to honing their material shines through in the host of details that run across the album’s towering rage.
Initially, we’re lulled into something of a false start – those expecting Ascension to go for the throat straight out of the blocks will be wrong-footed. ‘The Silence of Abel’ opens slowly, a monolithic, stomping riff lurching forth like some form of primordial behemoth. The production is huge and enveloping and indeed, this opening section is very reminiscent of more recent works by countrymen Secrets of the Moon. It could be a bit much for some – the drums are incredibly clear and pristine – but it at least adds some real definition to Ascension’s dense approach.
It takes time to unfurl for sure but after four years, it’s clear that they are in no hurry to make their point. It’s not long before the Ascension’s trademark claustrophobic assault begins though and indeed, it’s about three minutes into the second track ‘Death’s Golden Temple’ and that guitar line kicks in (surely a shoe-in for riff of the year) when this album really kicks into gear. We’re dragged into a vortex of lightning fast black metal that never once sacrifices precision when maintaining dizzying speed. As always, Ascension have their eye on the song, each passage carefully composed to ensure it shifts, soars and swoops but always in a fashion that makes sense.
Ascension can handle their instruments, no question – indeed, the occasional shrieking guitar solos testify that someone in this band knows their way around the fretboard – but it’s always in service of the song, never at the expense of it. ‘Deathless Light’ (released as an EP a couple of months ago) for example reaches fearsome levels of speed but the chords shifting around beneath the maelstrom are considered, a snaking, winding journey into the abyss. A sense of melody plays throughout this track and is indeed a hallmark of this record – melody that is at once haunting yet reflective, finely balanced paeans of despond.
Equally compelling are the numerous subtle textures and balance of dynamics that are added into the mix. The straight-ahead, ‘fist-in-the-air’ section that crashes in during ‘The Dark Tomb Shines’ is wonderfully timed and perfectly juxtaposes the track’s more melodic sensibilities. Eerie touches of raking dissonance that waft across the finale of ‘Unlocking Tiamat’ meanwhile send shivers down the spine – it demonstrates that Ascension can play that discordance game too but it’s a far cry from the ‘Deathspell Omega’ sub-Voivod wannabe approach of lesser peers. For them, it’s just another weapon in an impressive arsenal.
It has been four long years of waiting but the results are very much worth it. ‘The Dead of this World’ is without question a state-of-the-art black metal album and represents a band with frightening levels of talent and compositional potency. Such is the density and depth of ideas present on this album it does take a little time to truly unveil its secrets, nevertheless, on current form, Ascension are very much on their way to joining the ranks of the utmost elite – if in fact they’re not there already.
(9/10 Frank Allain)
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