An atavistic isomorphism connects Reverence’s “Chamber of Divine Revelation”, Void of Silence and even Mayhem’s new liturgies to this common perspective on the industrialized world’s last supper acoustics. The musical elements are chosen for their power to evoke a sort of force hidden behind the decay, a force that could reorganize the order out of the chaos depicted in the music here.

For such seems to be the way “De Librio Arbitrio”, the first track from Blut Aus Nord, builds its path through ruins of monoliths reshaped into temple stones, once the musical structures inhabit and envelop the space between them. The philosophical allegory synthesizes in a stupendous manner this intentional accumulation of fluid specters and the massive gravity and hallucinatory odors that the musical textures are uniquely rendering. Illusion systems are perhaps the only guarantee for this existence, and we cannot help but choose the one closer to the greatest and paradoxically most redeeming illusion: art. “De Librio Arbitrio” grasps this rationally devastating immensity of choice on which free will resides in intriguing, sophisticated death/ doom textures.

A similar musical theme made up from dual-aspected accords defines the next song, “Hùbris” into a vast, epic doom/ death track of soul-tearing beauty. It is like skies are being prayed upon to open their horizon and let us have a glimpse at infinite hypothesis. The tomb of the earth becomes a womb that springs out a new unabashed intellect. The proportions of the song are impressive in clarity and vastness, and invite to a reflection on what lies beyond common verbal comprehension. Where Summoning incited our imagination with fantasy-driven emotions, Blut Aus Nord does it in similar tones with the intellect. Such is the intense degree of speculation emanating from Blut Aus Nord’s music, that sometimes their musical language seems to be the reproduction of a code, unknown to us, translated into musical textures (in this view, “MoRT” will ever be a matter of deciphering).

“Némeïnn” closes Blut Aus Nord’s offering on this split record. A play on sounds composed with harshly polished inhuman feeling and perfect mechanical dexterity. More a science-fiction doom lullaby sung to calm the minds of too thoughtful cyborgs…this track is the genuine incarnation of an enigma. Oriental arpeggios flow perversely menacing as in a sort of cross-species erotic game between flesh and machine. These sundry riffing anomalies ornamenting the scourge-breathing melodies are nothing if not haunting, and fortunately far from simply memorable because, had they been more accessible, their presence would have flooded and suffocated the psyche.

The counterpart of this triptych belongs to P.H.O.B.O.S., a project under the direction of Frédéric Sacri. An electro/ doom offering in honour of cosmic mysteries. “Glowing Phosphoros” moves sadistically in slow but high-pitched intensity, mostly converted with industrial blasting percussions and space ambient sounds. The outcome is singular: a de-black metalized Aborym constructed on Godflesh’s skeleton and envisioning Dark Space’s bombastic panorama. It becomes rhythmically inducing on “Transfixed at Golgotha”, where it echoes various sediment semen thrown to concrete by old-school industrial pioneers like Throbbing Gristle or Thorofon and even by forgotten satanic electro forces (Diabolos Rising or the electrified Beherit), rendered more accessible by elegant touches reminiscent of some of Galakthorrö projects. An innovative digitally branded style perfectly accessorized for new coming Christs.

P.H.O.B.O.S. directs its aesthetics to a gently cultivated new breed of angst-ridden industrial/ doom idiom. “Ahrimanic Impulse Victory” depicts a marching mess where the ceremonial music of Coph Nia meets the evocative enslaving force released from the tentacular bass domination of old Necromantia.

“Triunity” is released by Debemur Morti and will stay unleashed into our disconnected synapses for period of time no one can estimate. For here you will find acoustics beyond the present underground metal genre, and who can foresee how the future will change music, or more likely the human brain.


- Iaha Crax, july 2014