Veneror create long, flowing, compositions in the style of Sacramentum which carry a melancholic but sinister emotive pallet through melodious arpeggiated twin guitar harmonies. Structurally these songs cycle in between two or three motifs yet eschews a sense of heightened dynamics while coarse vocals ride atop giving a sense of continuity rather than circularity. This is further reinforced by the chromatic development which carries itself into reprieves which close each section with sparsity before jaunting into the next. The resultant unbroken sequence of phrases is not unlike what Revenant would use to great effect on their infamous and only full length album.
Percussimus Foedus cum Morte is the music of grey days where the horizon is twisted by the tendrils of clouds reaching towards the earth to pull away remaining warmth; leaving a chill so fraught that bones of once lush forest beg to be burned. The verboten pleasure of this record’s melodies reflects the bliss which accompanies the stillness of death. A state sought after in life but only achieved by its extinguishment; the snow suffocated entropic peaks of winter exhaust desire, leaving only silence which persists until the turn of the solstice lures the world back into a state of bustled suffering.
Despite being stylistically derivative Veneror overcome the limitations of overfamiliarity through the conviction and skill with which the entity assembled its contents. The consistency of vision achieved here is commendable and owed to the patient thematic development unfolding during the course of each track. The resultant aesthetic experience is orthogonal to the well-traversed paths of northern European black metal which are marked by solidified precipitated sediment. Percussimus Foedus cum Morte’s trajectory leads one over ground which has only been touched by the quivering paws of foxes and their prey which exists in the spaces between its influences.
Tags: 2013, Black Metal, Italy, percussimus foedus cum morte, Revenant, review, sacramentum, veneror
22 thoughts on “Veneror – Percussimus Foedus cum Morte (2013)”
Positive review: few comments
Negative review: WAHH DMU IS FAGGOTS ALWAYS CRY WHY BECAUSE?
/pol/itcs: WAHH DMU Y U NO MUSIC
Fuck all of you.
I didn’t read this yesterday because I was too tired & unconcentrated to follow the flow of your prose. Your style is less impenetrable than that of David Rosales but still requires quite a bit of creative interpretation to get to the meaning behind the wording. Treating this just as intricate and beautiful ‘Wortgeklingel’ (words chiming off each other like sometimes colliding bells, if there’s a word for this in English, I’d very much like to know it) seemed a bit of a waste to me.
It wouldn’t be so bad if I could stop writing run on sentences. Thanks.
I liked the review AND enjoy the album. So…this is my comment!
He’s really telling it like it is, aren’t you ashamed of existing?
No my life is better than yours
Maybe your writing just isn’t very interesting..
No comments?! And people complain about lack of metal-related subjects…
Good call on the Revenant-comparison. Underrated stuff, this is.
This seems to be an evil reverb-fest intended to sound ‘nice’ and ‘artsy’, making it similar to Sacramentum, already quite hard to stand, but this is even more tooth-less. It’s also quite repetitive: The bands sits to long on individual, melodic phrases. At times, this sounds like an air-raid siren[*] out for a picnic, howling away for the joy of it, without the menacing implications.
[*] As not everybody remembers this as weekly drill: https://www.youtube.com/watch?v=erMO3m0oLvs
Someone willing to share an opinion on
Other than “It’s obviously core!”, that is.
What are you on about, Sacramentum was great in the early 90s! My 15 year old self decries your flippancy!
In the interest of fairness: This (Veneror) gets notably better around the 16th – 18th minute. The style remains the same but the guiter lines become more varied.
So Lance is not allergic to consonant melody after all! The first couple of songs on this album interested me enough – despite the derivative style – that I might listen to the rest.
I apologize for blatantly diverting attention to myself, but I would like some feedback on a heavy metal song that I wrote. In my name, I have linked to a download of a demo recording of the song. I hope that anyone who listens can overlook the programmed drums. I probably don’t need to say this on DMU, but don’t be afraid to be critical or tell me if the song sucks. Cheers.
Good intro in the vein of “Thunderbust”/”Ides of March”, compelling with a emotive drive. There are good parts aplenty in here (soft spot for the counterpoint work embedded), but some of them need a bridge and “side narrative” to connect them (especially around the three minute mark). This has the ability to become a rather powerful — Epic Speed Metal/Early Power Metal — song in the way of Cargest’s dreadfully overlooked band Hundred. To achieve that you need to stretch some riff clusters (phrases) and interconnect some of the others. 6/10 with the potential to be 8,5/10. YULETIDE HAILS UPON YE ALL!
Many thanks for your input! Thanks as well for alerting me to the existence of Hundred.
hundred is alright but boy howdy is cargest ever a faggot
The chick they have playing bass is a cutie. Those striped pants she word on stage.
Listening to this for the 3rd time now. The intro is a bit too corny & sugary. But then, I hate so-called power metal. I like the transition after that but the second part settles into a “feeling comfy on my sofa” mood quickly. I like the initially dissonant end of the riff much better than the ones which follow. The blastbeat plus tremolo-picking (?) section afterwards is a bit odd in there: I like that better but that’s probably because it’s more in line with what I usually listen to. The melody again falls short of what it could be because it remains in “warm, nice & greasy territory”. The more power(less) metal part after that is “more of the same” despite some individual highlights. I like the 2nd blast beat part better than the first. The single-string playing after that with the lower accomplishment could pass as “ok heavy metal” but still too nice. The track then rolls on in this way to its end.
Something power-metal (we used to call that ‘speed metal’ and DRI crossover, BTW) I used to like
This is very much driven by the rhythm section, something the demo track quite sorely lacks.
Thoughts about Percussimus Foedus cum Morte on first listen: I like that this music is lively and that it emits warmth (it sounds warm to me, anyway). However, I wish that Veneror would have generated more motion from their energy. Also, for me the album is too much of the same, and no moments really stand out. I would probably only listen to this again to make sure that I’m not missing anything.
No one replies because no one believes this site will actually recommend something good.
The fuck you guys tripping randomly. Although derivative, this is album is friggin solid compared to all the junk out there nowadays. 8.5/10
this albums alright
Jerry H. (Offslist)
Thanks for the kind words.
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