My reviewing for November started with a deadly double death metal combo as the end of the month sees the coin flipped for a triple ballistic assault in black metal as this Norwegian act inflicts their own brand of aural warlike devastation on the planet. I tend to set the bar rather high for Norwegian black metal bands probably due to the pedigree of the original pioneers from some 30 years ago so which in some respects isn’t justified since the wealth of top quality material that appears from around the globe easily equals that fertile time for the genre, and betters it more often than not. However I cannot rid myself of critiquing black metal bands from Norway in a slightly different manner whether rightly or wrongly.

Keiser’s sophomore follows an album released in 2017 titled ‘The Succubus’ and an EP, ‘Ascension Of Ghouls’ the previous year, both of which I have deliberately not investigated which is atypical for me as I normally backtrack any new bands discography to get a feel for progression and any diversions that have happened with regards to their song writing, sound etc. In the promotional information it is made clear that this album is about war, a topic not unfamiliar to extreme metal over the years though the band makes it clear that lyrically this isn’t just eight songs of obliterating horror but takes a more human side to the subject which I’ll take their word for.

After a brief eerie intro, ‘Prelude To War’, complete with ominous voices and gradually escalating volume the album erupts fully with ‘Scourge Of The Wicked’, also the first single from the album, as this song really sets the sonic landscape for what you are to endure. There is plenty of melody here as the song possesses that inherent piercing guitar sound you’d expect from a Nordic black metal outfit. However the song extrudes a sinuous almost sleek melodic vibrancy as the tempo totally changes into a far more melodic and slightly eclectic aura. Slowing down substantially is follower ‘Cannons Of War’ which you’d expect to be as destructive as possible based on its title. Instead the song channels its violence via a far more sinister riff style and marching like opening. As the song advances it unveils some cool kick drum work which draws you in allowing the song to intensify with each passing minute to the impacting finale.

Switching back to the speed annihilation, ‘Where Fire Rides The Nightsky’ has a menacing stripped back intro feel, like listening to crackling on a radio transmission before unleashing a beastly riff and half blasted tempo. It is the tempo dynamics of this album that make it so engaging as sweeping double kick is balanced by the caustic riffing that is equally balanced by the corrosive vocal writhing. I really enjoyed ‘Shroud’, predominantly because it reminded me of Dissection with high velocity riffing being amplified by the incendiary blast speed. But the way this band completely diverts their songs with no notice that really captures the ear, pivoting sublimely to reveal a more progressive blackened structure which blends harmoniously to the detonating blast beat sequences.

‘Far From Human’ is utterly battering from start to finish, every 203 seconds (according to my player) is a relentless barrage but still tempered by those addictive guitar hooks that are cemented in seamlessly. After a brief mellow interlude, ‘The Fog, the album closes with two epic compositions beginning with ‘Eternal Onslaught’ which explodes into life with plenty of hints towards the warring black metal ethos. The merciless pace is breathless as again the song conducts the listener down swingeing tempo changes that leads into one of the quirkiest riffs you’ll hear this year. I swear you’ll be humming it for days on end! Added to that the song bristles with energy and fluidity courtesy of some fine lead work as the song majestically plunges into an acoustic phase. The reassertion in power is expected of course and it does so with another scintillating mesmeric riff that conveys the song to its climax amidst some exceptional lead work again.

Closing the album is the title track, a ten minute sprawling gargantuan behemoth that enhances everything you have just heard and distils it into a track that will have you in goose flesh. With isolated guitar the songs bleak introduction is desolately nihilistic brandishing an atmospheric aura that saturates the song. As it develops it utilises shifting moods and increasing density where a sublime and subtle hook infests the song that almost feels like post rock in its delivery. The obsidian vibrancy is captured exquisitely when the song exposes its vitriol via the myriad time changes, but in particular where each is accompanied by those formidable riff changes. Again there is a sort of quirkiness adopted as the song hits mid-tempo speed half way in and ventures into an avant-garde realm where the lead work runs wild. The song is packed with riffs as the melodic phase surrenders to the skewering blast beat and the war like ethos. But even here that savagery is embellished with guitar trickery as that post rock nuance materialises beautifully and allows the track to ease up in the last couple of minutes with a far more rock like beat at the finale yet still inherently malevolent.

Pure black metal horror crystallised into tracks that glisten with shimmering guitar work, brutalising speed as Keiser will indeed construct your own termination.

(9/10 Martin Harris)

https://www.facebook.com/keisernor

https://non-serviam-records.bandcamp.com/album/our-wretched-demise