Colorful and dynamic, Adversarial’s brand of nu-black metal has many compelling moments and even long stretches of song, but overall falls prey to a combination of high-level meandering in search of an “atmosphere” while loose reign is given to the drums to fill in gaps with flare without any substantiation. In their defense, most of the instruments seem to work in a very directed manner, a direct result of the simplicity of the music, although this integration and interplay is not as clearly done or focused on a full musical-conceptual balance like Kaeck’s Stormkult.
Ultimately, the most compelling aspect of Death, Endless Nothing and the Black Knife of Nihilism is its delicious production. Everything is both pristine in the dirty and powerful way that violent death and black metal are mandated to be heard. Unfortunately, when one pays close attention to the development of whole songs, it is easy to notice that the songwriting does not rise above the level of, say, Peruan black metal band Goat Semen. In fact, given that Adversarial are more prone to that modern atmospheric meandering that is vaguely reminiscent of post-modern chord-hanging, I would rather listen to the forward moving and still related riff progressions of Goat Semen, although these also, in the end, do not amount to a clear picture of anything except the violence they produce outright.
While these will delight metal listeners that lie on the heavy and consistent pleasure-seeking spectrum, those in search of a balanced unification of images and respectable music construction will find nothing here.