Part of the Agonia Records stable is out on the road again. DMU contributors have discussed both Aosoth and Mgla in the past and at least in some cases have been able to find value in them (although I’ve found Mgla hasn’t aged too well and that their formula is need of greater nuance). Continental Europeans will get a chance to judge these bands for themselves during this upcoming tour. So far limited to 10 dates and leaning towards the northern part of the continent, this seems to be a standard “support previously released material” type of tour. Aosoth is also performing at the Netherlands Deathfest (a subsidary of Maryland Deathfest) on February 28th.
VI, the French black metal supergroup comprised of members from Antaeus and Aosoth, has released the improbably-named “Il est trop tard pour rendre gloire. Ainsi la lumière sera changée en ombre de la mort.” sample track from De Praestigiis Angelorum, permitting a short review.
Like later Antaeus, this band is hollow. It is not outright fake, but it aims to control your mind by pleasing you with surface characteristics and missing what lies beneath. Much as the first Antaeus had possibility in that it attempted to upkeep some of the ideas of the past that worked, but never quite got there, and then the band backed off of that direction with later releases, VI has a strong surface of old school black metal — fast rhythms, the right minor-key riffs, the right texturing of melody and grinding — but at its core there is nothing. You might look at this as simply a better take on Deathspell Omega, but there is no transcendent passion in these songs, only a somewhat cynical knowledge of how to make music sound brainy and violent at the same time.
What propelled original black metal was a strong emotionality based in a worldview inspired by logical analysis, not social feelings, about human problems. VI reverses this with a song about the social feeling of belong in black metal and thinking how austere, relentless and different you are just for listening to this, and yet it has no substance. The band ably combines two riffs and variations for the initial part, then drifts off into a patchwork of ideas that fit together rhythmically but crush any chance for expressing a consistent or developing theme. What you get is like American beer: it has all the right ingredients, in the wrong order, with no idea uniting it all except to please the average fool for long enough that he will buy it again. Avoid this FMP/NWN release.
VI is a French black metal trinity, made of current and ex-members of Aosoth and Antaeus. Their debut full-length album, De Praestgiis Angelorum, bestirs within the characteristic black metal niche developed by the said bands, with the addition of expanded guitar work, choirs and subtle sample parts. VI describes their music as “extreme, devoted black metal with illuminated chaos”.
– Featuring INVRI (Aosoth, ex-Antaeus) on guitars and vocals.
– Featuring BST (Aosoth, ex-Antaeus, ex-Aborted) on bass.
– Featuring Blastum (ex-Aosoth, ex-Antaeus, Merrimack) on drums.
– Recorded, mixed and mastered in BST Studio (Antaeus, Hell Militia, Aosoth, Vorkreist).
– Cover artwork by Alexander L. Brown (Leviathan, Stargazer, Bölzer, Darkthrone).
– For fans of for fans of Deathspell Omega, Funeral Mist, Aosoth, Ascension, Svartidaudi, Antaeus.
Et in pulverem mortis deduxisti me.
Par le jugement causé par ses poisons.
La terre ne cessera de se consumer.
Regarde tes cadavres car il ne te permettra pas qu’on les enterre.
Une place parmi les morts.
Voilà l’homme qui ne te prenait pas comme Seigneur.
Il est trop tard pour rendre gloire. Ainsi la lumière sera changée en ombre de la mort.
Formed in 2002, Aosoth launched themselves down an intellectual path blazed by the Order of Nine Angles, a theological Satanist outfit whose ideology differs greatly from the usual atheistic, materialist Satanism of modern “black metal.” This would become significant as the band evolved musically to match their inclinations in aesthetic and ideal.
Early Aosoth releases fit within the run-of-the-mill French black metal style with more aggression and yet control than most bands of that type were demonstrating at the time. As the band incubated their sound changes came, and each release improved upon prior works while also reaching for a style more likely to be unique to Aosoth.
IV: An Arrow in Heart meshes textures the way a painter mixes paint and applies to canvas. Most songs are in a somewhat standard format with riffs recycled often. Though the pitfalls of being monotonous from repetitive riffing are present in this release, Aosoth keep it interesting by having well-thought-out structures and progressions. Occasional ambiance meshes with the bleak and desolate droning riffs to provide an atmosphere of distress.
As black metal has found itself in a position of being separated from its origins without having discovered a path to the future, releases like IV: An Arrow in Heart site astride two very different standards, loyalty to form and need to innovate. While none will argue that Aosoth has left black metal behind like the post-metal et-al crowd, it is clear that this band has found a way to innovate within a faithful tribute to the past, and the result has given the band the voice it had desperately needed.
Aosoth’s third album III: Violence & Variation hemmed in repetitive riffs and enshrouded them into bleak atmospheric black metal. Reminiscent of Antaeus, Aosoth twist and contrive distorted tones to create an intransigent body of work.
The band expressed their progression from III to IV:
“We’ve spent such a huge amount of time on defining a darker identity, yet open to a wider range of influences. Those tracks still haunt us, as delivering them was a painful and excruciating experience, and left some of us even physically wounded… Which gives that album even more of a spiritual value, as it involved a form of sacrifice.” The band also added: “This fourth full-length release is without a doubt a great step forward for us in term of music writing, and sound.”
In addition to the release of IV, Agonia Records will release black vinyl versions of II and III on April 16th.