If you have ever given this Dutch band a listen you will know that they do not stick to any tried and tested formula for writing songs even with their earlier material which was purely death metal oriented. With five albums previously and an EP the band has added varying elements to their music, especially electronics which isn’t new granted but the way they ingrain that aspect is different, and without them they wouldn’t be the same or give you the same listening experience. It is two years since any output as the “Bloocvlts” EP was a strange but hugely satisfying journey through miasmic deathliness and in some respects serves to introduce the bands newest material on the back of a short UK tour which I attended and picked up their vinyl of the new effort alongside a shirt or two.
The album’s complete title I believe is “Versus 1 (It Will Burn Us Without Leaving Ash)” and comprises seven songs though the opener is an intro called “Rod Serlings Radio Drama” that has backing noises of cans being opened and various radio voices whilst still opening cans and belches. When finished the album goes into “The Furious Gods” which starts with a silly voice before someone interrupts and shouts ‘are we a fucking acapella group, play the goddamn kit’ as the track is inundated with drums and an avalanche of bass as the songs initial mood is one of pulverising intent. The blast beating hints at Strapping Young Lad’s first two albums as the pace dives into a double kick infestation enabling the orchestration to filter through in a similar style to Septicflesh. There is a mechanistic quality to this album that hints at an industrial style made even more so by the monophonic vocal style that is often used. Adding a children’s backing vocal with gurgling death metal rantings completely screws with your mind but it works, even if it is on a fine line.
Another sample starts “Die Glocke” which translates as ‘the bell’ there is an eerie almost sci-fi like guise to the track as it builds layers of intensity with a grisly vocal delivery that is ultra-deep. The songs doom death structure is tainted with various effects as the drums reinforce every fibre of the album from start to finish. Switching to a more upbeat structure “Seven Months Of Mysticum” begins far more sedately with a traditional death metal riff style until the blast floods in and is very like Immolation due to the overt density and speed. The lead work sits a little astride of the song as the orchestral aspects are added along with some soaring vocal effects creating a cinematic flavour, again rather like Septicflesh but also Fleshgod Apocalypse. Listening to this album is about an experience, it’s not about individual songs per se as children’s voices adorn “Uchronian March of The Deathcults” at the start with an eerie stance via keyboards that are swept aside when the tune veers into a Nile like sequence with a pounding beat and again a very cinematic approach, that links with the lead work and pounding mechanistic drum beat.
Closing the release is a lengthy doublet spanning nearly 20 minutes that begins with “This Inhuman Place Makes Human Monsters” which thunders along with a gnarly riff that is catchy and easy to absorb. The additional effects aren’t far behind as the song sequentially builds towards an even deeper riff and cavernous vocal style that is beastly but decipherable. The keyboard effects linger lightly in the background, like a phantom coming to the fore when the orchestral effects are introduced. Closing is the ten minute epic of “From The Stalinic Perspective” which has a dramatic start with the drums focussing the track via the orchestral arrangements and strident riffing. The symphonic approach is nothing new, as it imbibes the songs with the symphonics rather than slapping them into the song for the sake of it, they’re integral to the band music as the songs doom death template pounds slowly with hypnotic guile. As the song progresses a superb lead break filters in that is supported by the symphonics brilliantly as that lead distorts into a twisted chaotic vibe that yields for a piano piece with distant voices.
This is not an easy album to listen to, but persistence pays as varying facets are revealed with each new listen whether it’s the orchestration, the drumming, the keyboards, the guitar playing, vocal, you will hear something different each time. The early editions of the album on CD are available as an A5 style digipak and the vinyl has an etching on side D that is excellent. If you want a challenge, rattle the mediocrity in metal, or just plain have cash to spare then this is a release you should consider.
(8.5/10 Martin Harris)
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