Nespithe is not an easy album. The cult aura that surrounds it and the 25 years of distance since its release blur things even more. You don’t need more than 28 seconds to start having second thoughts about its quality, at that mark Antti’s vocals from the gutter – almost burping like – appear and rip your speakers apart. What makes the difference though is that the guitar tricks and the progressive playing are hypnotizing and you get caught into the melodic soundscape they create. It won’t take long to realize that these vocals are the ones that fit best with that unique and technically flawless sound. What matters is to be able to discern the great or the important with your own perception according to your own thoughts. To not care about other people’s judgement or to judge regarding who created it, comparing and not take it for what it is as such. If you think those vocals are grotesque, you ‘d better not wait from anyone to tell you that this is the definition of extreme and hatred, which they are. But of course the strong point of the album is the guitars. They are so sickly on point that not even the poor lo-fi production can bury them and the absence of overcharged distortion comes as an aid in that. In general there is an economy in usage, at the tremolo as well, and the whole philosophy behind the songwriting seems to be to create songs without many repetitive parts, with a plethora of changes so natural that there is a vivid harmony and flow, as also in the blend of the rhythm parts with the (almost without tone) guitars. The drumming is relentless and non stop. Mikko Virnes seems to be in the leading position and (not just following, but) supporting Aki Hytönen’s wild solos. Parthenogenesis sounds stupid to me as a term and if you are looking for some similarities as a reference, I would say that Demilich share some with first period Carcss, Gorguts (in the lack of tone in the guitars), 90’s Atheist – especially in the jazz approach – and an Autopsy aesthetics with a touch of Lovecraftian roots. The titles of the 11 songs are a reference point on their own and a sign either of genius or paranoia, or just eccentricity. The title is an anagram of ‘The Spine’ and the instrumental “Erecshyrinol” is an anagram of ‘No Lyrics Here’ and of course all these 13-22 word titles of the rest of the songs. Nespithe is the only album the Finnish have recorded. It was cut initially by Necropolis Records in 1993 and was re-released in 1996 for the European market from Repulse Records and in 2003 from Century Media. It is to be found easily in a more recent 2009 release in CD and vinyl from Xtreem Music. Let it be noted that this last edition, in contrast with the other releases from Necropolis Records and Century Media, has been approved by the band.
Twisted, nonconformist and unreachable for the masses, with time sometimes on its side and sometimes its fierce enemy, there is a quality in that record that makes it attractive for whoever is looking for weird and not easily digested gems for his collection.