Anaal nathrakh - eschaton blogspot download

The combination of frantic guitars, pummelling, rapid-fire drumming and scathing vocals is bound to leave an impression on any first-time listener. When they surfaced with The Codex Necro in , the band rightfully received near universal, albeit generally subterranean, acclaim. Those relative few back then who heard their debut were left dumbfounded at the level of sheer intensity that record had. They single-handedly create a new sound, borrowing from black metal and grind, but creating something that was neither.

However, the flipside to establishing yourselves as a band of such great quality and distinction so early on is, what to do after that. I was so sorely disappointed with 's Domine Non Es Dignus, that when Eschaton was released I had virtually no interest whatsoever. While not thoroughly bad, Domine The horrible clean vocals, relatively poor riff writing and general clear drop in intensity almost felt like a betrayal in trust. Domine also suffered from a noticeable drop in sound quality, sounding duller and less acerbic than even their demo material.

When I got round to Eschaton, my expectations were low. However, upon hearing opener Bellum Omnium Contra Omnes "the war of all against all" my enthusiasm returned.

The guitars screamed at me with riffs and sound reminiscent of When Fire Rains Down L's vocals seemed to be back on track; that is to say, totally demented. While I dare say well over half of Eschaton reminds me why I will always sort of see myself as an Anaal Nathrakh fan, there are simply too many missteps to be found here. The opener would have sat happily on either of their two initial releases in its utterly convincing violence and incredibly abrasive production, but ultimately Eschaton is a patchy, poorly-paced recording, which alternates sheer excellence with poorly conceived "moments".

If I were reviewing on the strength of the riffing in the "verses", Eschaton would score quite highly. Aside from a pair of limp exceptions, songs boasts numerous fantastic riffs of such a quality as to make me grind my teeth and furiously wrack my entire body.

However, these are the riffs that segue into each other; that make up the meat of the songs but do not beg for your validation. It is these moments which ruin the essence and flow of the album, meaning I can never go more than ten minutes or so before realising that I'm not listening to the Anaal Nathrakh that I so dearly love.

That Anaal Nathrakh does not let up, does not make any concessions whatsoever. These "moments" largely consist of efforts to be "epic", or "emotional". This is largely attempted by the use of clean singing in what are essentially choruses in several tracks. Whereas Anaal Nathrakh are at their best when the songs contain little more than one ridiculously furious riff leading into another, leading into another, they have come to rely on the use of musical "events".

These are intended to be focal points, but instead simply detract from the onslaught. There is nothing grander and strangely elating than the sheer intensity we are spoiled with when the band spew out nothing but sharply acidic bile. So, we have an often excellent album, denied that status in whole on account of the occasional but obvious loss of footing.

The shooting of itself in the foot. A prime example of this perfectly-aimed foot-shot is the third track, Timewave Zero. Until the midway point, we get to hear unadulterated spite and malignancy.

But then we have the most embarrassing riff on the CD which undoes all the hitherto hard work. The song slows down abruptly, kicking in with a truly awful riff and the clean vocals at their absolute worst.

This same riff is then coupled with the trademark light-speed blastbeat, but is imbued with ZERO intensity, and sounds all the more silly for the attempt. What could have been a great song turns into a poor one. But there are many sides to this particular argument of this album. Waiting For The Barbarians showcases why the band do not necessarily need to be blasting all the way to create audio terrorism.

The heavily rhythmic emphasis during the slower sections together with those fantastic two-chord alternations Anaal Nathrakh often do so well offers excellent variation in pace without sacrificing any energy whatsoever. Nonetheless, what makes this CD so frustrating is that it almost comes across as deliberate self-sabotage, so carefully laced with pockets of methane as it is.

Destroy The Angel, like the opener and a couple of others, shows that the band at this point were still more than capable of extraordinary venom; the level of hatred and fury is almost baffling. It is ironically the incoherence of this assault, meaningless in its severity, that defines the band at their most coherent; when you just feel like the subject of a senseless barrage of animosity. The album is mostly comprised of incredibly jarring passages, instinctive and animalistic in their fervour, but the carefully placed segments of greater melody and, usually, singing, are simply at odds with the general unreasonably aggressive tone of the album.

The hope is to create some emotional dynamic within the album, and perhaps offer something to those listeners with a shorter attention span. The truth is that the band nail it when the dynamic is one of unapologetic brutality; THAT is by far the most articulate mode of operation the band has. Anaal Nathrakh are at their most valuable and emotionally complex and demanding when the listener is simply struggling to make sense of the ludicrous hostility they are receiving.

The distinct sections of "soaring emotion" are in fact emotionally flat in comparison. Like a person who is always extremely unpleasant to you, one can at least admire the strength of character, and one also knows where they stand. Eschaton is like the same person, but they every so often present you with a large bakewell tart. The behaviour is contrived, disconcerting, and hard to trust.

The tart may seem tasty, but it is not nourishing, and after a few of them, they taste pretty shit. The title is a Nietzsche reference, one of many in the band's discography, and one which here is illegitimate. The track is funnily enough itself the child of the album, with much weaker vocals, naive structure, and wears a bright orange t-shirt of accessibility.

An insult to the listener, it gives them little credit, instead delivering generic riffs within a easily digestible, lowest common denominator structure.

A lot like a mother spoonfeeding a child and making aeroplane noises to make the experience seem more appealing. This is followed by possibly the best track of the album; The Necrogeddon, which embodies the best aspect of the band. Unsurprisingly this is a rerecording of an earlier track from their demo period, which saw official release as a bonus track on the excellent Total Fucking Necro compilation.

This in turn is followed by the album's pathetic closer, the aptly-titled Regression To The Mean, with its dreadful croaky vocals, redundant pace and vapid guitars. The musical equivalent to a whimper. Purchasable with gift card. Also available on hoodies, tank tops, and more at shopusa. Sold Out. Bellum Omnium Contra Omnes Timewave Zero The Destroying Angel Waiting for the Barbarians The Yellow King The Necrogeddon Regression to the Mean Tags aborym cattle decapitation dragged into sunlight metal rotten sound the berzerker anaal nathrakh black metal death metal extreme metal grindcore industrial Birmingham.

Human, All Too Fucking Human 9. Anaal Nathrakh 2. Necrodeath 3. Ice Blasting Storm Winds 4. Carnage 5. The Supreme Necrotic Audnance 6. Satanarchrist 7. De Mysteriis Dom Sathanas 9. The Technogoat Obscene as Cancer The Reek of Fear The Apocalypse Is About You!

Vi Coactus Mother of Satan The Horrid Strife Are We Fit for Glory Yet? The Nameless Dread 2. Depravity Favours the Bold 3. We Will Fucking Kill You 5. So We Can Die Happy 6. In Flagrante Delicto 7. Extravaganza 9. On Being a Slave