Ελληνικά
Last Updated on 06:25 PM by Giorgos Tsekas
Genre: Blackened Thrash
Country: Norway
Label: Edged Circle Productions
Year: 2015
It is universally acceptable that in recent years the Norwegian, Swedish and Finnish scene have sidelined the absolutely classic and traditional black metal and kept the way clean for the younger hordes to do their thing. So, these youngsters got absorbed by a black hole called “blackened thrash”, which is not a bad thing at all. Bands that flourished amidst all this stream were Aura Noir, Deathhammer, Nekromantheon, Obliteration, Condor (bands that share each other’s members) and so on. Within this maelstrom, Inculter popped up, satisfying the three main requirements that this genre sets as prerequisites: young age, full of talent, appetite for evil sounds. Active since 2012, Inculter have so far released an EP entitled “Stygian Deluge” and a split with the Reptilian in 2013. Around that time, they had entered Fenriz’s list of for “Band of the Week”. This year, they released their first full length album entitled “Persisting Devolution”.
Despite the fact that they keep it old-school (influences such as Destruction, Kreator and similar bands are evident throughout the course of the record), and although this genre has soared in recent years with new bands bursting continuously, Inculter managed to deliver something cool, something fresh and something oddly mature, even if they can’t be more than 20 years old. Very fast and rousing riffs, to the point of wondering “Holy shit, how did he do that?”. An excellent example proving the aforementioned statement, listen to “Death Domain”; it’s like you set his hand in autopilot. Guaranteed tendonitis. To this riffing dynamic, vocals contribute extensively. Satanic, sick and handing plague without shame. As for the drums, they move in the anticipated wavelength, the classic tupa tupa, but having nice shooting and beautiful d-beat and galloping patterns, avoiding this way of being monotonous. I also liked the fact that the album follows a circle pattern. It starts and ends with frightening and for me guite paranoid elements. Especially in the album’s outro, there’s a schizophrenic melody, like those sounds that carousels make in horror movies and porcelain dolls that come to life at night and devour your soul. What is missing is the bass. I don’t know what happened, but in many cases the bass is nonexistent. It may have been their choice, it may have happened during the production process, but it’s missing when it could beautifully fill the tracks.
Those who want to keep up with the new releases should check it out; but those devoted to the genre, I think it’s worth investing in this record, especially purchasing the transparent red vinyl the band released.
Highlights: Commander, Traducers Attack, Mist of the Night, Death Domain
4/6
