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Deathspell Omega - Veritas Diaboli Manet In Aeternum: Chaining the Katechon  CD (album) cover

VERITAS DIABOLI MANET IN AETERNUM: CHAINING THE KATECHON

Deathspell Omega

 

Tech/Extreme Prog Metal

4.74 | 25 ratings

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Kenosis_Theorician
5 stars Ever since Si Monumentum Requires Circumspice, which appeared five years ago, Deathspell Omega have taken a path that only the bravest take; a more avant-garde and progressive approach on the codes and norms of black metal, a musical sub-genre that is recognized for its lo-fi cacophony and satanic blasphemy. Before this album, this band was just another typical Darkthrone copycat, scorching through our ears with the sharp tremolo picking and the numerous arrays of blast beats all in between. However, things have definitely changed for this band and they did for the better.

Most recently on December 2008, they issued an EP called Veritas Diaboli Manet in Aeternum : Chaining the Katechon with another black metal named S.V.E.S.T. This mini- album proves that the band are no longer afraid to sail through uncharted territories. The last effort, Fas - Ite, Maledicti, In Ignem Aeternum was their most technical, most frightening and most intelligent record up to date with its cinematic environment, progressive and odd structures, and most importantly the top-notch production of the record, which is surprising in black metal, even for a band like Deathspell Omega. Another aspect that should be noted is Mikko Aspa's - the band's current vocalist - varied, yet atrocious and savage display of vocals. He sings like the Luciferian lord himself; a fact that should be comprehended in many ways.

Basically, Chaining the Katechon is a twenty-two minute song which is divided in three sections. The first one begins with the trademark hysteria which has become familiar over the course of the last five years; blast-beats accompanied with frenetic, systematic obliteration from Hasjarl's songwriting, who is the main guitarist of the band. Nevertheless, the band knows how to do transitions from fast to slow every time. The discordance that appeared on the last album appears once more during those transitions. But then, as things seemingly get more and more intense, Hasjarl pulls a trick up his sleeve; echoed, distant and structured riffs appear one by one. It's a calmer sight and he knows the pure meaning of reverb in this one. The riffs are simply put well-executed and extremely more controlled, even though they are jarring. The atmosphere gets even calmer with a page taken from progressive bands such as Opeth and Cult of Luna with a monotonous, almost sliding and plummeting passage. Then, a scream unleashed itself and you find yourself lost, buried under thick layers of technical depravity. The riffs, in other words, do not make sense. They are distant, skeletal and inhuman, but surprisingly controlled and very coherent; a contradiction in some sense. Another thing that surprised me was the percussions and its methodical, play-by-play arrangement. I expected something more confusing, but they possess an interesting balance, even though sometimes things get out of control very fast. Near the end of that section, chaos ensues with blast-beasts, discordant, technical riffs and a pinnacle that can be found in Mikko Aspa's irreverent despair.

The second section is almost similar to the first one with the recognizable beginning, but it slows down further and further, which reminds me of those free-jazz improvisations. The riffs are again extremely discordant, but smoother and excruciating. More technical wankery gets in the way, but in such perfect colour. Repetitive, yet isolated. Illogical, yet well- executed. It's a mammoth of odd time signatures. Think Meshuggah opposed to Darkthrone. It'll give you a clear picture. Another interesting passage in this section displays itself by that characteristic repetition and discordant display. All of a sudden, after blast-beats come one by one, the drums are becoming groovier and the discordance complements itself with that atmosphere. A jazzy, riddled combination of both dissonant riffs and low, shaky bass lines shows itself in this section. Afterwards, it's even more discordant and confusing from now on, but sophisticated, intriguing and "stylish" in its forms. Near the end, a chant fills the whole background, giving the song an orchestral feel. Remember that brutal passage near the end of the first section? It comes back with open arms, but even more dazzling and cruel than before.

Finally, the last section might give us a preview of what's to come on the next album; clean vocals!!! Mikko Aspa's chants are primitive, yet surprisingly well-adapted into the mix. The section is even slower, unbearable but also more perplexing with the puzzled, indistinct riffs.

Overall, Deathspell Omega is a band that represents the future of black metal and undoubtedly, its saviours with the immense amount of technicality and experimentation, the first-rate production and of course, the ideology of avant-garde and progressive music with the jazzy, elegant passages in this album. Simply put, they are challenging in every aspect. Even though the album is less intense than Fas, you cannot help but wonder what lies ahead in their next, awaited third effort of their 'trilogy'. Chaining the Katechon might give a preview of what's to come.

Standout tracks : It is meant to be listened to as a whole!!!

Kenosis_Theorician | 5/5 |

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