I was blown away by this French bands last album, ‘La Morsure Du Christ’, so much so that I instantly bought it at the time. This latest and seventh album is likely to be on my purchase list too as it continues where the last album left off but fine tunes everything into more slick, accomplished tracks still bearing the Seth hallmark of inflicting grievous sonic harm. The question of whether I enjoyed these new songs more than the last album is debatable as whilst the tenets of classier song writing are obvious there is an intrinsic technicality at the sacrifice of sheer melodicism. This isn’t to say the songs aren’t melodic, just differently arranged and possessing a fervent ferocity that leaves indelible scars as you listen to it.

First up is ‘Paris Des Maléfices’ which opens with an atmospheric and eerie beginning that is haunting and strangely ominous, right before the impending explosion of semi-blasted snare and tuneful riffing. Acerbic vocals line the songs fabric as it shifts into slower double bass lead catchiness. The pause is excellent, slowing things down marginally for some epic aura. ‘Et Que Vive Le Diable!’ follows and continues in the same vein except it opens with a veritable strafing of blast beat drum work linked to the piercing guitar work and hostile vocal tone. Like the opener it uses huge variations in tempo to craft atmospherics as the decrease in pace is accompanied by choral vocal soundbites that add a layer of grandiose texture. I really do like how Seth make their songs talk to you sonically, they have this knack of creating songs with reams of dramatic flair that border on the theatrical.

‘La Destruction Des Reliques’ continues the album but here we get a doleful intro phase, much slower on the pace with the vocals switching to a more tormented semi-clean styling. The inevitable blast quickly ensues however and as the song progresses the vocals intensify sharply right before the incredible escalation in blast speed which is bloody marvellous. All the songs here are loaded with charisma, abundant changes in tempo are accompanied by wondrous vocal textures to add to that theatrical guise I have mentioned.

‘Dans Le Coeur Un Poignard’ deals out a huge contrast with melancholic melodies linked to a coarse throaty snarl that is practically tribal in delivery. The gradual escalation in power is predictable but serenely potent as the song uses the build up to produce a much more dramatic and expressive composition. The pace remains steadfastly tempered creating a portentous yet extremely catchy track that is expressive and saturated in what I felt is an aura of tragedy to it.

A short bridging piece titled ‘Marianne’ more or less serves as the introduction to ‘Ivre Du Sang Des Saints’ which again is slower initially and beautifully executed. The pulse of drum work alongside the bereft guitar riff is joined by another majestic riff. The song is lavishly constructed, deluges of guitar work as the song pivots into a blast beat with unerring ease. Here the vocals are mixed, harsh vocals, of course, but also a throaty clean tone that captures a more dramatic ethos. The continually changing riffs makes the song one of my favourites on the release primarily because it is infectious but also because it is inundated with a myriad of twists and turns.

The album closes with its longest songs starting with ‘Insurrection’ at over seven minutes. With an isolated guitar riff the song channels drum fills through it before the mix adds layer upon layer of eloquence. The song reminded me of Germany’s Imperium Dekadenz to a degree because it has that imposing grandiosity about it. Like previous songs the tempos continually morph as the vocals use the abrasive tones to ensure it is as caustic as possible. This leaves the eight minutes of ‘Le Vin Du Condamné’ to conclude proceedings which starts with an eerie guitar piece that is sorrowfully delivered. As the metal juts in that sense of epic texturing is patently obvious, where a change in speed to blasted realms intensifies the song. Spoken vocals return here briefly (sort of like Nergal in Behemoth) before they morph into much harsher tones yet still spoken to a degree rather than sang. The interweaving of copious riffs is staggeringly effective as it opts for a double kick bombardment that makes the song extremely catchy. The song is massive and a fitting climax to an album that is captivating and thrilling in equal measures.

(9/10 Martin Harris)

https://www.facebook.com/innomineseth

https://innomineseth.bandcamp.com/album/la-france-des-maudits