Blut Aus Nord – Saturnian Poetry

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Most bands go through different periods of stagnation and productivity, however there are few that can boast such extreme fluctuations in releases as French based Blut Aus Nord. For a career that began with an almost well-paced output, recent years have seen a flurry of work unleashed. For many bands this can see a slip in the quality or consistency of their records, however Blut Aus Nord defy this trend, being one of the few bands that manage to astound with every album, consistently defying expectations. While every album may be different and offer a new musical direction, there’s no denying that they all have a distinct sound that only main man Vindsval can achieve. Their latest offering is no exception.

Saturnian Poetry (Debemur Morti) comes in as the third album in the Memoria Vetusta series, following on from Fathers of the Icy Age (Impure Creations) in 1996 and more recently Dialogue with the Stars (Candlelight) in 2009 and quickly proves the most relatable of the series, and of Vindsval’s work as of late, particularly when compared to his 777 series or even his most recent split with P.H.O.B.O.S., Triunity (Debemur Morti), and is one of the best-defined and most enjoyable albums the band has released to date. Many of their previous releases have tended towards the avant-garde, alienating the listener with dissonant harmonies and awkward time changes, however Saturnian Poetry takes a step back from this constant push towards new ground. Some may view this as regression, falling back into the vast realms of relatable music, but the album still carries the distinct Blut Aus Nord sound without feeling like they have traded in any of their principals, or turned to a more mainstream position.

Vast ethereal landscapes captured in layers of distortion, erratic drumming and harrowed screams throw us into a desolate but majestic landscape. There is truly only one way to describe this album: cold. Despite its tendency towards grand melodic lines, Saturnian Poetry avoids large symphonic instrumentals, instead making the guitars the main feature of the music with majestic chord progressions backed by occasional synth or vocal lines. It does however contain Vindsval’s usual tendency towards progressive structuring, rapidly twisting through varying soundscapes as each song unfolds.  There is also a marked improvement in production quality, and with such an intensive mix of instrumentation lines, this allows the subtler touches to shine through.

This release also marks the entrance of drummer Thorns, whose vast collection of previous work includes Frostmoon Eclipse, Deathrow and Acherontas. While previous albums have featured talented collaborations with artists or programming by Vindsval, Thorns seems to gel naturally with the music in a way that the others haven’t managed in the past. His tendency towards unusual patterns, breaks and crashes seem a natural part of the music, and often prove some of the most compelling performances on Saturnian Poetry.

Opening on a soft electronic intro with ‘prelude’, it’s a deceptively calm start before the ravages of ‘Paien’ kick in and the sound of the album truly unfolds. Both ‘Paien’ and ‘Tellus Mater’ set a vast, majestic tone that carries through, allowing for soaring vocal lines and large but chaotic guitar parts. There are few moments on the album that really steps back to allow the listener to rest, save for the intro and sections of ‘Forhist,’ whose mid-tempo riffs are often interspersed with manic fills across the drum kit. While the album fits together best as a whole rather than being taken by its individual parts, it’s ‘Henosis’ that provides the stand out moments. Opening on the albums more majestic sound, it intersperses hints of Blut Aus Nord’s more dissonant tendencies halfway through the track, an effective and welcome nod to previous work while simultaneously embracing the new style.

‘Metaphor of the Moon’ and ‘Clarissima Mundi Lumina’ take this another step further when closing the album with a subtle shift in sound. Low growls and stabs of awkward uneasy guitar cutting through, these tracks are significantly darker than the others – each track is a descent toward the closing darkness and demands the listeners full attention if they ever hope to draw the best out of this album.

Saturnian Poetry sees Vindsval provide some of his most compelling music to date and further cements Blut Aus Nord as one of the most exciting black metal acts in the scene today.

 

10.0/10

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CAITLIN SMITH

Blut Aus Nord / P.H.O.B.O.S. – Triunity 

 

BAN PHOBOS 1000X1000 72DPI

 

Blut Aus Nord are one of those bands whose discographies should come with a map. Starting off with an atmospheric, expansive approach to Black Metal, they’ve spent two decades letting that approach lead them through a variety of approaches and styles, each united by the same cosmic aesthetic and adventurous spirit.

 

Their contribution to the Triunity (Debemur Morti) split shows them operating in a similar territory to 2007’s Odinist, but with a much greater reliance on structure. The more Metal moments of the first 777 album also spring to mind at points – thick, almost chugging guitars overlaid with haunting, progressive-minded leads and processed vocals. What’s interesting here is how much ground they’re able to cover in just under twenty minutes – the three tracks run together into an expansive whole which manages to be both heavy, introspective and surprisingly aggressive in parts; a great bite-size introduction to the band, and a perfect confirmation for fans that they’re still pushing their own distinctive musical vision forward.

 

One of the problems with splits is often that the bands are too similar in sound – Triunity avoids that by picking two acts who share aesthetic qualities but are musically quite distinct. With repetitive processed guitars, clipped mechanical vocals and sinister ambient noise, P.H.O.B.O.S most readily call to mind early Godflesh if they gave up on all that urban decay business and looked to the cosmos. “Industrial” – surely among the most abused words in music – is a good enough fit here, but this is an eldritch, half-tangible factory in the middle of a desolate spiritual wasteland, staffed by ghosts endlessly working at machines whose working conform to no known principles of engineering. Possibly making things for Argos.

 

Of the two sides, BAN’s is the most accomplished and satisfying in itself – P.H.O.B.O.S rely perhaps too heavily on repetition, and over such a short length can seem a little hollow – but Triunity shows two bands offering a similarly mystical take on two different styles, and is an engaging and captivating listen either in parts or taken as a whole.

 

8 / 10

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RICHIE HR