This band was on my radar in 2010 solely due to the band members who comprise notably of Samoth, Nils Fjellström and Cosmo who you can look up if unfamiliar. The two previous albums struck a chord with me instantly and approached the blackened death metal genre by initially adopting a thrash riff base for ‘Ominous’ and a deathly slant on ‘Inroads’ the latter of which is a cracking album. Step forward four years and the band hits us with a groundbreaking release (somewhat delayed due to Samoth’s commitment to the 20th anniversary touring for ‘In The Nightside Eclipse’) that mixes black and death metal with a degree of uniqueness that initially didn’t sit with me very well as it was totally unexpected due to the obvious plunge into more blackened realms and also the sound which has had the sharp scything riffing style smoothed out considerably.
After a calm distorted fade in ‘Dead Icons’ brandishes a scathing riff attack and blast assault that is menacing and laded with dissonant phantom like terror. The guitar distortions and slower segues embitter the tune with a nightmarish atmosphere as ghostly clean vocals materialise from nowhere. My initial reservations about the production were quickly dissolved as it renders the songs potent and narcotic at the same time as ‘Primordial Freedom’ continues with more dread like effects alongside the battering savagery. Parts of the albums more serene moments reminded me of current Enslaved material, being saturated in melody but still portraying a sense of horror typified by ‘Old Norwegian Soul’ which boasts pagan like chants to enhance the theatrical aura. Slowing things down ‘Misery Hunter’ has a post-black style that enables the song to course a path of experimentation shrouded in a miasmic blackened fog as the eerie ending section creates a sort of sonic punctuated pause before ‘Atheos’.
‘Atheos’ returns the album back to a caressing viciousness via the creepy riffing and enveloping drums which are crucial to the way this song flows from one riff to another via keyboard adornments that cement everything together. ‘The Decline And Fall’ has a brutish ferocious riff at the beginning before the tsunami of drums flood in and the terrifying vocals are belched out. However this album doesn’t rest purely on violent credentials as it allows a progressive structure to seep into the song via the guitar hooks. The slow riffing on ‘Burrowing Deep’ allows the clean vocals to perch on a pedestal of agonising horror with the drums being utilised as foundation for the guitar work to float upon. Closing the album is ‘Dewy Fields’ a song bristling with dramatic ingenuity as the snare beat and mechanical noises are coupled to a symphonic like ethos. As the guitar fades in so do the tormented clean vocals which are exceptional and add considerable depth to the album but I’m not sure having it as the closer is correct despite the tune being extremely memorable.
As bands strive to be recognised in a world where breathtaking talent can be heard very quickly via internet investigations The Wretched End has carved out a release of gratifying melancholy locked to stupefying progressive fervour and I strongly urge you to listen to this album.
(8.5/10 Martin Harris)
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