“Premier Chants”, this Canadian band’s debut full length comprises the first of a duology concerning the downfall of Christianity according to the background info. What is surprising about this is that the first part was released in late April 2019, leaving only a six month gap before this second part whose title translates as “Last Songs”, the debut translating as “First Songs”. Having not heard the debut I did give the album a quick listen to get the foundations of this double album concept and what can be profoundly stated is that Ossuaire write some of the most apocalyptic black metal you’ll hear this year or any other year for that matter.
Held within six monstrous tracks the sophomore unleashes pernicious sonic vitriol onto the listener that begins with “Pestilence Rampante” as a stark guitar sound unveils a crisp riff saturated in venom. The resulting upsurge in speed is seismic as the vocal abominations are venomously bellowed possessing a slight echo adding to the terrifying atmosphere. The speed of this album is crucial to how the whole release feels as each track bombards the listener with unrelenting wrath yet teeming with melody on the riffs. “À L’ombre Du Très-Haut” initially ignites with a slower riff and speed before obliterating it in assailing blasting savagery. The use of tempo fluctuations is superbly done as “Sous l’Autel Des Immaculés” proves with its haunting and desolate riff at the opening sequence. Like before however the song quickly escalates, intensifying gradually up to the incendiary blast, which is prolonged and effective at creating inhuman ferocity backed up by the malicious vocals.
The use of more eerie riffs is amply revealed on the epic “L’oeil-sang” where light cymbal work accompanies the much slower beat of the drum work. The vocals take on a more ghoulish slithering approach, with elongated tones and syllables amplifying the sinister nature of the song. The excellent change in pace reminded me of Finnish act Thy Serpent due to the inherent melody and mournful ambience that fans of very early Enslaved will definitely appreciate too. A pagan like ethos appears on the closing tune “Derniers Chants (Un Monde Dépourvu De Dieu)” where acoustic phrasing is linked to an atmospheric build up that sees the song increase incrementally in tension towards the cavernous drop into blasting ferocity. Again the song is rife with melody despite the unerring speed tempered only by more acoustic work mid-way that make the whole song drenched in emotion and fervent passion.
All fans of black metal, whether favouring the modern or original eras will enjoy this album, it has the hallmarks of something remarkable, the desolate riffing is rife with melody even when the songs are played at blistering speed and coupled to the magnificent vocals there have been few black metal albums as accomplished as this one this year.
(9/10 Martin Harris)
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