This time we will have a relatively quick review of a pretty good, but still rarely interesting, metal release. I was advised to listen to it for a long time and to review it, but I was, as usual, a lazy ass. And yet, having gotten to this release, and having listened to it only a couple of times, it has managed to fully reveal himself and even create a tiring impression. Nevertheless, I recognize that there are some discoveries and artistic solutions in it that could be used to find a more original and interesting development in future. In short, I’ll say one thing – this album is only able to loop sick and heavy grooves over and over, for the rest there is Infant Annihilator.
This is the British metal band Black Tongue, which I first met when I saw the video for the track Second Death on the recommendations of subscribers. Frankly speaking, the first third of the track really impressed me and did not let go until the track turned into a monochromatic gum. Approximately the same impression happened with all the other tracks of the album. The album is called Nadir – that is, the point below us (if we speak very roughly and miss the details in the terminology), which serves as a good addition to the hellish plot drawn on the album cover in the colors of dimly fiery or bloody red. Honestly, it creates a good and holistic impression of the terrible picture of hell, in which the protagonist of the album finds himself after a rather long and painful death. This is if taken in general terms.
In general, this is more than a decent conceptual and semantic basis for the album, which could have been presented much better than it was done in real life. I do not mind, the text of the album is quite aggressive and painful, it represents various forms of torment, anger, death and afterlife aggression associated with various hellish situations, which in fact are sketched rather sluggishly and ambiguously. An attentive reader and listener to my review will surely say: “Wait, you don’t like literal text yourself and you like everything to be described indirectly” This is true, of course. However, for this genre of music and for the selected conceptual message, such texts are still much harder to cling to the listener.
Plus, the text was not particularly able to even form the desired atmosphere in which it would boil. That is, a certain parody of hell and near-demonic stories and hysteria was presented rather than really high-quality lines about this horrific picture. From my listening experience, I want to note that such texts need more plot and much more symbolism, as was the case with the same albums of Behemoth or Infant Annihilator. What do I want to say? For albums with a similar concept, one should make either a plot or an atmospheric text so that it means something and carries the story with it. In fact, it came out at this album rather mediocre.
Everything would be fine, but these grooves quickly deflated in development after each of the corresponding tracks. They could not be diluted either with stereotypical blast beats, or with a fairly standard deathcreen scream, and listening to each track can be described in a falling line, where the peak of interest ends in the first third or quarter of the track and gradually falls into full boredom. Personally, in my opinion and taste, the solution with progressive details and broken reefs would diversify the instrumental much more and make vocals much more drunk.
From a musical point of view, everything is fine, but not enough to compensate for the grayish text. Of course, this is a downtempo deathcore or death metal, as you wish. In many respects, it still borders on beatdown and even progressive, which is clearly audible in the main riff of the track Second Death, which is really well torn apart in terms of time signatures and rhythmic patters. Understandably, similar genres are based on grooves, but making an album of 95% of the 8-string grooves was not a very good decision, especially when these grooves were similar to each other, approximately like the original and a photocopy. That is why guitar riffs became the most important stylistically defining and memorable element of music. I do not argue, they are really cool and the tone of the guitars was very cool and was selected. It seemed that the severity and heaviness of this sound is about to crush you to the floor, as was the case in the Koloss album from Meshuggi.
Everything would be fine, but these grooves quickly deflated in development after each of the corresponding tracks. They could not be diluted either with stereotypical blast beats, or with a fairly standard deathcore scream, and listening to each track can be described in a falling line, where the peak of interest ends in the first third or quarter of the track and gradually falls into full boredom. Personally, in my opinion and taste, the solution with progressive details and complex riffs would diversify the instrumental much more and make the vocals much more protruding outside, which would make it more audible and recognizable among all the rest.
That is, as you can see, I will be in solidarity with those commentators who said that this album becomes boring pretty quickly and disappears from the ears almost instantly. Nevertheless, I pay tribute to the aggression, emotionality and successfully made the tone of the guitar on the album, which can potentially be developed into something much more interesting, if the band makes more creative efforts. And so, 2.5 out of 5.
Меня зовут Эш (mynameis0ash), и я делаю обзоры на музыкальные альбомы и видеоигры. Этот блог - это платформа для обсуждения всего самого интересного в мире музыки и видеоигр. Поэтому, присоединяйтесь, подписывайтесь и будем обсуждать! Также я делаю музыку для хип-хоп группы Mba-Kayere (@mbakayere).Learn more